Not long ago I ran into a friend who did props for local troupes. She asked if I have watched a certain theatrical production by a local group, and she said she has not heard any feedback for the show, and it was weirdly quiet.

The word “quiet” has got me thinking—an art group that wants to improve needs feedback. In any mature art sector, commentators are indispensable, and can even be an occupation. Apart from giving reviews to art pieces, art commentators also increase the exposure and discussion of these works. Macao has limited scale and frequency of performances, so reviews may not necessarily lead to a better box office. Most of the reviews gave focus on artistry only, commentators are amateur and sometimes carry multiple roles.

Art creation and art review originate from different standpoints. In my four years’ time with Macao Theatre’s commentary programme, I went to workshops that were hosted in Macao, which invited commentators from other Chinese-speaking regions. I also participated in commentary events in Hong Kong, Taiwan and locally, which gave me perspectives of the art commentary scene in different regions, and more understanding of my own role. As a creator of literature and visual arts, I had limited knowledge of how theatres are run, but I understood what situation people in the creative industries faced. I had watched rehearsals and performances of Comuna de Pedra, and was deeply touched by their devotion. But I had to face my other identity — the lonely commentator who has to write objectively after the show. I have to take responsibility of my own reviews, and I face being commentated as well. But to analyse an artwork and drive development of the art scene, it is important to trigger sparks with different views.

If organisers recognise the importance of art reviews, they can even become a part to promote the artwork. Although reviews were featured in Macao’s official events like the Macao Arts Festival and the Macao Fringe, online updates and promotions are carried out by external agencies. The devotion and update rate from the officials are unsatisfactory. In this regard, the Taipei Fringe can be a good reference for them. I participated in the festival in 2012 and 2013 as an overseas art commentator. There was a section for reviews on the festival’s website, and commentators had to submit their comments and scores within 24 hours after viewing the shows. The organisers would then post them online as soon as they can. Sometimes you would even get a friendly response from the staff when you submit comments at 9pm. Therefore, the next day of the show people would be able to view scores and comments of each performance, categorised according to authors or shows.

It can be observed from art commentary events that young commentators have published many reviews, but the quality and quantity are not guaranteed because they are busy with their jobs. Personally I understand the importance of reviews, but my participation is sometimes affected by various types of other works and creations. In addition, commentators are often engaged as organisers or creators of events, which makes it difficult for them to stay independent. This is the plight faced by organisers of dramatic criticisms if they want the programme to continue. On one hand they need commentators to accumulate experience, and on the other hand they need more new blood to join the industry. The art circle also has to respond and coordinate. More attention is needed for this kind of interactive relationship.