Sometimes … dances … ‘do more’ on the page than they ever did on the stage

Abstract

This critical review aims to expose the confusion that exists in professional arts criticism in general, and dance criticism in particular – with implications for dance education. The underlying principles of formalism are outlined and its strengths and weaknesses highlighted. A demand for more interpretive, theoretical and contextual criticism is made – undermining the centrality of formal values. Intrusive critical interpretations meet with scepticism – they ‘do more on the page than they ever did on the stage’. Wittgenstein’s analysis of ‘seeing aspects’ is proposed as fundamental to aesthetic appreciation; its pre-conditions are made explicit. Multiple examples of ‘seeing-aspects’ in dance are given. The views of contemporary aestheticians are sought – revealing both consensus and divergence on the functions of criticism. Brief critical questions and answers are attempted with a proposed rapprochement in critical disagreements – leading to a proposal for more tolerance among the many modes of critical practice. A caveat is made for well-grounded imaginative interpretations for criticism in dance education – together with evidence of discriminating and well-expressed formal qualities.