Created by the choreographer Liz Lerman, the Critical Response Process (CRP) is a method for feedback based on the principle that the best possible outcome is for the maker to want to go back to work. Whether returning to the studio, theatre, workshop, or a writers’ desk, CRP gives tools both to people who are making work and people who are responding to that work.


The Critical Response Process is incredibly important to the work Puppet Animation Scotland does and allows creators, makers, audiences and collaborators alike an opportunity to reflect, respond and navigate the often complex realm of “what do we do now?!”. Whether suffering from writers’ block, at a cross roads with work or ready to evaluate the work already completed, CRP allows a holistic and incredibly creative response to projects.

An Introduction to Critical Response

Fringe Central

Interested in knowing more about how to use the Critical Response Process? We have teamed up with the Federation of Scottish Theatre and Fringe Central to present a free introduction and practical workshop during Edinburgh’s Fringe Festival.

A trained CRP facilitator will lead the group through a feedback session on a fragment of work-in-progress. The session will leave you feeling empowered as an artist and responder. Additionally, this workshop will include a short talk from an artist who regularly uses CRP in their practice illustrating how they use it to develop their work.

Case studies:

Merav Israel

“I was very grateful and excited to take part in Liz Lerman’s seminar and go through the process of Critical Response as a dance artist showing work in progress.

 First, I was happy to show work and have it discussed in a more interdisciplinary environment.

Liz Lerman’s way of working and the CR process allows a dialogue across art forms and practices which I believe can contribute to greater development of quality work and is potentially stimulating and creative.

With Liz Lerman’s guidance and the CRP process I grew more aware to the process of crafting questions both as a creative process with myself and in the dialogue with my audience.

I’ve learnt that crafting questions is a skill which I can develop.

It helped me find a constructive way to deal with the relational field between myself, the artist (and in this case also the performer) and the responders (audience) where I could feel protected in the way the process allowed a shared engagement in the craft of making while also learning how to deal with judgement and personal opinion and turn them into questions.

The group was encouraged to understand where personal opinions are interfering with creative process and with the artist ability to listen and learn.”


Tortoise in a Nutshell

“As an emerging theatre company we are often presented with a number of opportunities to share our work with our peers or open minded audiences, many times with the proviso of the experience providing invaluable feedback to frame future development. However this can often be a disappointing as feedback can sometimes be unstructured, non-specific or given without clear explanation and has sometimes left me feeling confused or dejected.

I felt CRP provided a very exciting framework for this dialogue and most importantly left us feeling excited to explore our ideas further and pursue many of the points made in the discussion practically in the rehearsal room. The framework can be an important reference point to begin working with new outside voices and definitely protects while still pushes the artist.

I felt we couldn’t quite explore the angles we found most interesting, fully during the feedback session with us as the group was just too large to explore all the points raised. I would suggest smaller focussed groups could really benefit the process.

I would also be interested in exploring CRP in situations where the roles are less clearly defined, such as in a rehearsal room, for instance, where everyone is responsible for the work.”


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