Theory and criticism are still "gaps" in the theater.

A scene from the play "The Waterfront of Time" by the Youth Theatre.

Speaking at the recent scientific conference "The Current State and Solutions of Theatre Theory and Criticism Today," organized by the Hanoi Theatre Association, Associate Professor and Doctor Tran Tri Trac frankly stated: The field of theatre theory and criticism in Vietnam cannot yet be called professional because it is still very young and has a grassroots, movement-based nature. Those who are called theorists and critics also realize they are not yet worthy of that title, because they have never considered theatre criticism as a vital profession. No matter how meticulously their writings are produced, they only receive meager royalties that are not commensurate with the "input" value. Therefore, many who have received formal training or once had a reputation will sooner or later have to "flee" to other fields.

According to Associate Professor Dr. Tran Tri Trac, there was a time when the team of theater theorists and critics played a brilliant role during the period of strong development of the revolutionary theater in our country. However, currently, the old workforce, trained in the former Soviet Union, China, the University of Hanoi (now the University of Social Sciences and Humanities - Vietnam National University, Hanoi ) and the Hanoi University of Theatre and Film, has either passed away or is elderly, while there is almost no new workforce (the Hanoi University of Theatre and Film has not been able to open a theory and criticism class for nearly 20 years because there are no applicants for admission; among the majors for overseas training funded by the state budget, there is no major in theater theory and criticism).

Furthermore, theaters and art organizations have not yet considered theater theorists and critics as close members of the creative process, so theater theory and criticism are becoming increasingly out of sync in the current context. "Low salaries, meager royalties, working diligently only to be disliked – the best option is to flee, or the worst option is to bend down," lamented Associate Professor, Dr. Tran Tri Trac.

Lacking meaningful debates and constructive criticism among professionals, it's easy to understand why, despite the continuous production of numerous plays, the theatrical landscape remains dull, lacking in high-quality works, and struggling to reach the public. Many experts believe that writing theatrical theory and criticism today is very difficult. Writing lengthy, thorough pieces is only suitable for magazine publication, but by the time the magazine is published, the play has already finished. And with article length restrictions, one can only offer a little praise here and a little criticism there, failing to truly be considered theory or criticism, merely introducing a work.

According to Dr. Tran Thi Minh Thu (Vietnam National Institute of Culture and Arts): Vietnamese theater theory and criticism today is weak, lacking, and shows signs of deviation. There are very few works, articles, and treatises on criticism that are truly sharp, in-depth, and valuable in guiding the creative work of artists. The professional criticism community is marginalized and lacks opportunities to showcase its talents...

For a long time, literary and artistic theory and criticism have been likened to the "doctor" of the stage. Without this "doctor," theatrical art cannot thrive. Therefore, the crucial role of literary and artistic theory and criticism in general, and theatrical art in particular, needs to be fully recognized and affirmed in practice through concrete solutions. Dr. Tran Thi Minh Thu believes that the important task is to build a team of professional theatrical theorists and critics; to have policies to send capable individuals for training abroad; to have specific mechanisms to encourage people to study theory and criticism; to increase funding for research projects; to adjust salaries and royalties to create motivation for theorists and critics to contribute; and to regularly organize training courses to enhance civic awareness, responsibility, and professional ethics for the team of theorists and critics...

According to playwright Le Quy Hien, in order for theatrical theory and criticism to play a role right from the creative stage of a work, theatrical units and art councils themselves need theatrical professionals who are knowledgeable in theory and criticism to help the creative team ensure the unity of the play in terms of genre, dramatic action development, and to emphasize the message of the work...

As mentioned, the space available for theatrical theory and criticism in newspapers and on television is limited, but the development of technological platforms is opening many other "doors." Playwright Nguyen Toan Thang believes that theory and criticism itself must change; it cannot remain confined to old forms, such as articles citing one lofty theory after another and various schools of thought. "Those are excellent because of their academic nature, but for the public to understand them, theorists must find ways to popularize them, aiming to bring them closer to the public," Mr. Nguyen Toan Thang emphasized.

Currently, many content creators on social media platforms are earning a good income from film reviews and critiques, so the treasure trove of Vietnamese theater, with its system of classic works across all genres and dozens of theatrical productions staged annually, clearly presents a vast array of topics for theater theorists and critics to explore in the digital environment...

According to Nhan Dan Newspaper

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