Critical Response Process

If you have ever made something and presented it to an audience, you’ve probably had the horrible experience afterward of being told how great it was. To some, I’m sure that sounds dumb. Being told that you’re great shouldn’t be horrible. Unless, of course, you were hoping to learn something about how the audience perceives the things you make. Remember, we don’t have feedback sessions for fun, even though they can be lots of fun. We have them for their utility: to learn to make stuff better and, in doing so, make better stuff.

Choreographer Liz Lerman developed the Critical Response Process (CRP) to solve the issue I described above. It does an excellent job of separating the personal tastes of the “responders” (audience, in Lerman’s system) from that of the artist. The artist gets to determine how well they[1] achieved their goal without getting into aesthetic disagreements. I’ll describe it here in broad strokes, but if you’re interested in implementing it, I strongly recommend her short book on the topic. Please familiarize yourself with the basic structure, outlined below. We will often use CRP sessions to discuss our projects with one another.

Lerman defines three roles in a CRP session: artist (composer), facilitator, and responder. After presenting the work, the process runs through four phases. What’s particularly interesting is the direction to hold value judgements (positive or negative) to the very end. Again, this allows everyone to focus on the artist’s goals and the audience perception without passing any judgement on those goals directly. As I describe the process, I’m going to assume we’re talking about music. But as Lerman’s subtitle explains, the system is valid for any creation, “from dance to dessert.”

• Step 1: Statement of Meaning – The facilitator asks responders to explain what they heard as specifically as possible. Lerman suggests “What was stimulating, surprising, evocative, memorable, touching, or meaningful for you?” You may have noticed that these are not all value-neutral adjectives! It can be hard to avoid this at this stage; but, try not to get too effusive or negative.
• Step 2: Artist as Questioner – The composer asks questions about specific elements of piece. This is not the time for “Did you like it when…?” or the well-worn “What did you think?” Those are just soliciting general opinions. There’s time for that later. Artist questions can provide insight into what the artist thinks is important about the work. They might ask, “Could you hear the gradual harmonic shift from measures 28 to 40?” Specific questions yield more useful responses.[2] Good questions here can really raise the value of subsequent steps. I would encourage composers to take a few moments to write some questions down.
• Step 3: Neutral Questions from Responders – These questions are tricky for responders who are new to CRP, as it can take some effort to phrase certain questions in neutral ways. So instead of asking why the third movement was so long, the responder might ask how the composer is thinking about the structural proportions of the work. There might be a good reason for the third movement to be long. Maybe the issue isn’t the length, but rather how the third movement is prepared by the previous two, or how it develops, or something else. A neutral question allows everyone to frame issues in the context of the composer’s own goals for the piece. Neutral questions are a great way for the composer to learn how the audience perceives the music.
• Step 4: Permissioned Opinions – Responders get to offer direct and clear opinions here for the first time in the process. However, they should ask permission first. The script goes something like “I have an opinion about [specific thing]. Do you want to hear it?” This gives the composer the chance to avoid getting bogged down in parts of the work that are still under heavy revision. So if there are certain elements of orchestration that are still being worked out, a composer might not want to waste time in a back-and-forth about what they consider to be a placeholder decision. A nice side-benefit: the time of asking the question allows the artist a quick moment to recall the reasoning that went into whatever the opinion is going to be about. This might allow them to respond more thoughtfully. In my experience as a composer, when I’m not “prepared” for an opinion, it’s much easier for me to get defensive or ignore the feedback entirely.

While it may seem a bit structured and arbitrary at first, I hope that you find CRP to be a valuable experience for you both as an artist and as a responder. You might want to keep this around as a quick reference the first couple of times you do a session. I think you’ll quickly get the hang of it, and future sessions will feel more natural.

This handout is based on my short blog post about CRP here.