Great feedback from Judge 68 at the Writer’s Digest Book Award Competition. It’s rewarding to read a review from someone who enjoyed the book. The observation that the book would have benefitted from further engagement with recognized theatre authorities rings true. A number of reviewers have also commented on this shortcoming. To address it, I’ve begun a series of blogs that compare and contrast risk theatre with other movements and theories of drama. If you’re thinking about entering a book competition, consider the Writer’s Digest contest. Maybe you’ll get a critique from eagle-eyed Judge 68. Onwards!
Shout out to editors Carla DeSantis and Damian Tarnopolsky and proofreader Mark Grill for 5 out of 5 on spelling, punctuation, and grammar.
Until next time, I’m Edwin Wong, and I’m doing Melpomene’s work.
Entry Title: The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected Author: Edwin Wong
Judge Number: 68
Entry Category: Nonfiction/Reference Books
Structure, Organization, and Pacing: 4/5
Spelling, Punctuation, and Grammar: 5/5
Production Quality and Cover Design: 5/5
Voice and Writing Style: 4/5
Judge’s Commentary:
The author contends, with interesting arguments, how the profound change in world events and developments calls for a new model of tragedy that conforms to a modern pattern of risks. Moreover, he argues how these risks can lead to often unexpected and unintended consequences, all highly dramatic in scope. An influx of the sheer gamble involved in actions taken in today’s turbulent world and then dramatized is implicit in this provocative theory, which the author then supports with absorbing details that mirror the myriad functions of today’s global connections.
The many implications of this theory are explained by the author, though the central thesis can be more specifically explored in its various manifestations. However, readers will gain a strong spread of knowledge about the current and past theatrical worlds. In this vein, the author-to bolster his theory- reinterprets classical tragedies from the ancient Greeks to contemporary playwrights. Many insights into what composes a drama, in the past and now, flow from the author’s remarks. However, more comments by other authorities in the theater world would strengthen the book’s content and appeal and give it more balance. The first section covers the philosophy and poetry of tragedy and its structure, including the element of risk, tempo, and such issues as the politics of chaos and from chaos to command. Forms of tragedy encompass standalone, parallel motion, and perpetual motion works. The second section goes into major issues that have been the fulcrum of plays, both past and present, with an in-depth analysis of such subjects as trade and money. Examples, including stretches of dialogue, buttress the points made. The third section discusses how to write risk theatre, including such aspects as divine interference, the limits of knowledge, and errors of induction.
The writing is incisive, but some long paragraphs need to be broken up. It’s more difficult for readers to absorb, let alone enjoy, long paragraphs that take up all or most of a page. Chapter breaks help in absorbing the interesting breakdowns of the modern theater world and the author’s fascinating expectations of what the future might bring.
A glossary of dramatic terms would be a worthwhile addition. Insertion of some photos of scenes from famous plays would create a solid pictorial dimension and help break up the text.
The title and subtitle cite the contents well. The cover image would be more effective if the card-holding hand was of someone on a stage.