How are playwrights to continue writing complex and surprising plays if they’re forced to advertise ‘difficult’ moments before they happen via a trigger warning? We must stop treating audiences like children, argues Constance Congdon.
Imagine that you’re seeing Hedda Gabler, Uncle Vanya or The Seagull for the first time and you receive a message before the curtain that a gun will be fired. Now you’re waiting for it; the message you received has more emphasis than anything else in the play. Even for those of us who know these plays well... Keep reading on Clyde Fitch Report
Imagine that you’re seeing Hedda Gabler, Uncle Vanya or The Seagull for the first time and you receive a message before the curtain that a gun will be fired. Now you’re waiting for it; the message you received has more emphasis than anything else in the play. Even for those of us who know these plays well... Keep reading on Clyde Fitch Report