Please Don't Use the Word "Modern" When Referring to Plays

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When discussing plays, many people often feel inclined to label new and contemporary works as "modern." However, despite its widespread usage, this term may not accurately capture the essence of these productions. In this article, we will delve into the reasons why we should avoid using the word "modern" when referring to plays.

Fracked!: Or: Please Don't Use the F-Word (Modern Plays)

by Alistair Beaton (Kindle Edition)

5 out of 5

Language	:	English
File size	:	1195 KB
Text-to-Speech	:	Enabled
Screen Reader	:	Supported
Enhanced typesetting	:	Enabled
Word Wise	:	Enabled
Print length	:	104 pages

FREE

Plays have been a pivotal form of entertainment and artistic expression since ancient times. The tradition of theater has evolved continuously, with dramatic works reflecting various societies, cultures, and historical periods. From classical Greek tragedies to Shakespearean masterpieces, each era has brought its unique theatrical creations. It is important to acknowledge this rich heritage when discussing plays, focusing on their individual characteristics rather than tagging them as "modern."

One of the main issues with labeling contemporary plays as "modern" is the vagueness of the term itself. What exactly qualifies as a modern play? Does it refer to works created within the last few years, or does it cover a broader time span? The lack of a clear-cut definition can lead to confusion when trying to categorize plays, often resulting in broad generalizations that oversimplify the diverse range of theatrical productions.

Furthermore, the term "modern" tends to create a false dichotomy between traditional and contemporary works, implying that the former are outdated or irrelevant. This is far from the truth. Many classical plays continue to be performed and appreciated today due to their timeless themes, profound insights, and powerful storytelling techniques. By dismissing these works as "not modern," we risk overlooking their enduring value and limiting our understanding of theater as a whole.

Instead of relying on the term "modern," it is more accurate and enriching to explore the specific context, themes, and aesthetic qualities of each play. Describing a play as "contemporary," "postmodern," "experimental," or "avant-garde" provides a clearer understanding of the unique artistic vision behind the work. This approach encourages audiences and theater enthusiasts to engage more deeply with the play's themes and evaluate its contribution within the broader theatrical landscape.

Moreover, using more descriptive and precise terms allows for a more nuanced analysis of plays, highlighting their individual merits and innovations. It allows us to recognize the diverse artistic movements and styles that have emerged throughout history, fostering a deeper appreciation for the evolution of theater as an art form. From surrealism and absurdism to naturalism and expressionism, each movement has left an indelible mark on theatrical history, deserving recognition beyond arbitrary labels.

By refraining from using the word "modern," we also avoid falling into the trap of short-lived trends and fashionable categorizations. Plays should be evaluated based on their artistic qualities, relevance to contemporary issues, and impact on audiences, rather than whether they fit a particular temporal classification.

Understanding the importance of the word choice when discussing plays not only enhances our appreciation for theater as a whole but also respects the artistic intentions of playwrights and theater practitioners. It acknowledges that each play is a unique creation, influenced by its historical context and rooted in a particular tradition, regardless of its timeliness.

So, let us abandon the ambiguous blanket term of "modern" and embrace a more thoughtful and nuanced approach to discussing plays. By doing so, we will deepen our understanding of theater's rich heritage and open up new avenues for analyzing and appreciating the profound artistic contributions that playwrights continue to make.

Discover the True Essence of Plays: Why You Should Never Use the Word "Modern"

Note: This article is for informative purposes only. The featured image does not necessarily represent any specific play discussed in the article.

Fracked!: Or: Please Don't Use the F-Word (Modern Plays)

by Alistair Beaton (Kindle Edition)

5 out of 5

Language	:	English
File size	:	1195 KB
Text-to-Speech	:	Enabled
Screen Reader	:	Supported
Enhanced typesetting	:	Enabled
Word Wise	:	Enabled
Print length	:	104 pages

FREE

How would you feel about sitting in front of that nice old village pub on a sunny afternoon while convoys of 40-ton tankers roll past six feet away?

Deerland Energy's plans to drill for shale gas in the pretty village of Fenstock are going well. The company is looking at big profits.

They can count on the support of distinguished scientists working in university departments funded by the energy companies while at local level, Councillor Pilbeam, Chair of the Planning Committee, seems to be open to lucrative offers.

The only slight snag is a ragged band of protesters, reluctantly led by retired academic Elizabeth Blackwood. Surely she's just another 'mad old biddy', as she's characterised by ruthless PR guru Joe Selby.

This new razor-sharp black comedy by Alistair Beaton takes a timely look at the conflicted core of planetary energy and earthly power. Fracked! received its world premiere at the Chichester's Minerva Theatre on 8 July 2016.