This stage of the process, despite all efforts to the contrary, has become a little introspective and self-reflective. I've been cutting and pasting my old articles from The Skinny - primarily to remind myself what I have said in the past. Between flinching at the prose faux-pas of my younger self (although maybe the review full of short, simple sentences was an attempt to reflect the feel of a particular production), I am amazed at the volume of my writing.If any publishers are reading, I'm pretty sure there's enough for an anthology. I reckon it would be really cool if we got artists to respond to some of them, too.
At this point, I have a set of great answers, some interesting replies of dissent, and no clear idea of whether a 'Glasgow School' or style can be defined. I have tried to keep my hunches about performance on the West Coast quiet - so as not to infect the replies to my survey - but the questions, inevitably, are defined by my assumptions. Even if the main assumption is 'oh hell, I have to write about something....'
I can't say whether it is unique to Glasgow, but there is a spirit of generosity that clearly drives the city's artists. Even people who are not involved have been supportive and helpful. Sometimes, the positive refusal is as useful as answering my questions, since it throws up the problems of my methodology, and identifies dangers in both academic and critical processes.
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