I have been calling my methodology 'radical subjectivity' for years now. That's partially because I like to show off that I know what 'radical' means (it comes from the word for 'root' in Latin and isn't just another word for 'extreme'), but mostly because I reject even the possibility of 'objectivity'. Only God has objectivity, and other critics' beliefs about themselves notwithstanding, a review of Macbeth is not holy scripture.
Subjectivity is my excuse for the ramshackle, incomplete, uncertain and questioning products that emerge from my process. I am all about post-modernism, the rejection of the single narrative or interpretation. Once it becomes impossible to cover all the bases, it seems best to admit it. It's one reason why I claim to enjoy the plethora of competing voices in criticism. Sure, most criticism is crap, but at least it disagrees with me.
Theatre and Culture from Scotland, starring The List's Theatre Editor, his performance persona and occasional guest stars. Experimental writings, cod-academic critiques and all his opinions, stolen or original.
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