I find the whole concept of 'content warning' incomprehensible but then I suppose I belong to a generation that lived in hopeful expectation of being shocked, moved and occasionally offended by going to the theatre.
I used to have quite fixed ideas about the use of stage directions: I saw them as a measure of a writer's insecurity. That was when I had more faith in the ability of those who read scripts in a professional capacity to be able to interpret them but harsh experience has taught me that's not always something you can rely on. (https://girlandmonster.substack.com/i/40482857/subtext-and-signposting)
I still tend to leave mine pretty simple if I can, but I have seen some bizarre interpretations of my scripts… I’ve never put content warnings on my scripts themselves, now I come to think of it, but a lot of theatres and festivals now have a drop-down option on their websites where you can check content warnings if you want to which seems like a good middle ground
I always admired how Mamet would hinge his action around a small, un-signposted moment in a scene - see 'Oleanna' and 'Speed The Plough' for examples. I tried that once. I used a small moment to provoke a huge unexpected reaction from another character which, in turn, changed the whole direction of the play. In the context of the drama, it felt logical and right. But it completely mystified many readers of the script who were used to having such climaxes signalled with a runway and landing lights. Eventually I had to add directions to 'explain' it for their benefit. But then I'm not David Mamet. LOL!
I have sympathy for people not wanting to be triggered regarding some trauma or something that's distasteful to them, but there are situations where trigger warnings do represent spoilers. As a writer, I'd probably rather not use them, and try to prepare people with the blurb and signal via genre (e.g. "horror"). Not ideal either way.
Speaking of spoilers, I recently told my dad I was reading a series of historical novels that he'd also read. "Ah, that's the one where he gets murdered in the end." "Dad!" "What? It's history - it's already happened, so it can't be spoiled."
That reminds me of my dad spoiling the ending of the Da Vinci code to someone he saw reading it in a lift. 'Is that the one where...' and then he realised they were only about a chapter in
I sometimes feel a content warning is a spoiler- if the writer has worked hard to add a surprise element to their story BUT I’d rather it was there than trigger someone by letting them stumble over upsetting subject matter.
Also I read a piece that offered proof that an audience who is already clued up as to what to expect absorbs the plot/ message better. that has made me even more pro content warnings.
As I sometimes (but not always) write stories with erotic elements- content warnings are
Agreed. I’ve always thought that the relationship between a storyteller and their audience has a lot to do with consent. A person needs to be reasonably well informed in order to consent, particularly when they are physically in the same space as the performers.
Ooh, how fascinating! I never considered how "trigger warnings" will look in 100+ years! I personally always appreciate knowing if an animal is going to die (lol, don't care if people do, ha ha).
Oh, that shot of the Globe takes me back! I looked up my blog post and it seems we saw the Lucy Bailey production of "MacBeth" in 2010. There was a big rubber "apron" that extended from the stage and around the Pit, and folks in the Pit poked their heads up through it. Of course, actors came up through it - very shocking! I remember the play as being very bloody! We did buy a souvenir magnet that says, "Exit, pursued by a bear" (from "A Winter's Tale"). Now there's some implicit direction. We need a bear onstage, stat!
Another excellent article, Rebekah! I always look forward to your wonderful posts.
Yes that's the one! I think it was supposed to look like the lake of traitors' heads sticking out of the ice at the bottom of Dante's Inferno. The bear stage direction is always a favourite - I've heard it argued that it was a real trained bear since we know that theatres often doubled up as bear-baiting arenas (like the theatre called The Bear Garden) How cool would it be if we were in the Globe at the same time, Sheila!
Would this have been true of the Globe (doubling as a bear-baiting arena), that we know of? Were there also dedicated bear-baiting places that would have competed with the theatres? So see a play OR see the bears.
Good questions, to my recollection most of the big public theatres on the southern side of the river doubled up as other things during the times of the day and year when conditions weren’t quite right for performing plays. In the evening when there was a bit less light, bear fights and cock fights were common (hence ‘The Cockpit’ theatre). There would also have been a whole plethora of street performers of various kinds so I’m sure there was bear baiting elsewhere. It might have been more of a case of ‘see a play and then hang around in Southwark to gamble on the bear fighting’ if that was your thing! All of this contributes to a distinction between outdoor and indoor theatres, the latter were smaller, posher and more expensive because they had to be lit with candles (see the Sam Wanamaker playhouse which is a modern replica). You wouldn’t have had bears in there!
It was very odd and creepy! How cool that it might have been a real bear! I still have my ticket, Rebekah (it's on my fridge with the magnet) - I'll try to remember to look up the date I was there. Such a small world!
I don’t like content warnings for myself because they feel like spoilers, but I understand their value when choosing what to make available to a child or to someone wishing to avoid triggers.
I find the whole concept of 'content warning' incomprehensible but then I suppose I belong to a generation that lived in hopeful expectation of being shocked, moved and occasionally offended by going to the theatre.
I used to have quite fixed ideas about the use of stage directions: I saw them as a measure of a writer's insecurity. That was when I had more faith in the ability of those who read scripts in a professional capacity to be able to interpret them but harsh experience has taught me that's not always something you can rely on. (https://girlandmonster.substack.com/i/40482857/subtext-and-signposting)
(I do believe that the language you use to describe action - even a simple choice of words - fundamentally shapes the expectations of readers: even more so when writing for the screen. https://girlandmonster.substack.com/i/41732712/write-for-your-audience)
I still tend to leave mine pretty simple if I can, but I have seen some bizarre interpretations of my scripts… I’ve never put content warnings on my scripts themselves, now I come to think of it, but a lot of theatres and festivals now have a drop-down option on their websites where you can check content warnings if you want to which seems like a good middle ground
I always admired how Mamet would hinge his action around a small, un-signposted moment in a scene - see 'Oleanna' and 'Speed The Plough' for examples. I tried that once. I used a small moment to provoke a huge unexpected reaction from another character which, in turn, changed the whole direction of the play. In the context of the drama, it felt logical and right. But it completely mystified many readers of the script who were used to having such climaxes signalled with a runway and landing lights. Eventually I had to add directions to 'explain' it for their benefit. But then I'm not David Mamet. LOL!
Ah yes, this makes me think of the classic playwright's lament 'did you not realise this was supposed to be funny!?'
I have sympathy for people not wanting to be triggered regarding some trauma or something that's distasteful to them, but there are situations where trigger warnings do represent spoilers. As a writer, I'd probably rather not use them, and try to prepare people with the blurb and signal via genre (e.g. "horror"). Not ideal either way.
Speaking of spoilers, I recently told my dad I was reading a series of historical novels that he'd also read. "Ah, that's the one where he gets murdered in the end." "Dad!" "What? It's history - it's already happened, so it can't be spoiled."
Hmm....
That reminds me of my dad spoiling the ending of the Da Vinci code to someone he saw reading it in a lift. 'Is that the one where...' and then he realised they were only about a chapter in
Lol. Maybe it's a dad thing!
Very cool post with excellent points!
And may I commend you on your iambic pentameter. 😄
Why thank you, I will pass that on to the obscure playwright whose name has been forgotten ;)
I enjoyed your piece & the points you raise.
I sometimes feel a content warning is a spoiler- if the writer has worked hard to add a surprise element to their story BUT I’d rather it was there than trigger someone by letting them stumble over upsetting subject matter.
Also I read a piece that offered proof that an audience who is already clued up as to what to expect absorbs the plot/ message better. that has made me even more pro content warnings.
As I sometimes (but not always) write stories with erotic elements- content warnings are
necessary.
Agreed. I’ve always thought that the relationship between a storyteller and their audience has a lot to do with consent. A person needs to be reasonably well informed in order to consent, particularly when they are physically in the same space as the performers.
Killer work as always!
Ooh, how fascinating! I never considered how "trigger warnings" will look in 100+ years! I personally always appreciate knowing if an animal is going to die (lol, don't care if people do, ha ha).
Oh, that shot of the Globe takes me back! I looked up my blog post and it seems we saw the Lucy Bailey production of "MacBeth" in 2010. There was a big rubber "apron" that extended from the stage and around the Pit, and folks in the Pit poked their heads up through it. Of course, actors came up through it - very shocking! I remember the play as being very bloody! We did buy a souvenir magnet that says, "Exit, pursued by a bear" (from "A Winter's Tale"). Now there's some implicit direction. We need a bear onstage, stat!
Another excellent article, Rebekah! I always look forward to your wonderful posts.
I was going to mention The Winter's Tale! What a great stage direction.
Yes that's the one! I think it was supposed to look like the lake of traitors' heads sticking out of the ice at the bottom of Dante's Inferno. The bear stage direction is always a favourite - I've heard it argued that it was a real trained bear since we know that theatres often doubled up as bear-baiting arenas (like the theatre called The Bear Garden) How cool would it be if we were in the Globe at the same time, Sheila!
Would this have been true of the Globe (doubling as a bear-baiting arena), that we know of? Were there also dedicated bear-baiting places that would have competed with the theatres? So see a play OR see the bears.
Good questions, to my recollection most of the big public theatres on the southern side of the river doubled up as other things during the times of the day and year when conditions weren’t quite right for performing plays. In the evening when there was a bit less light, bear fights and cock fights were common (hence ‘The Cockpit’ theatre). There would also have been a whole plethora of street performers of various kinds so I’m sure there was bear baiting elsewhere. It might have been more of a case of ‘see a play and then hang around in Southwark to gamble on the bear fighting’ if that was your thing! All of this contributes to a distinction between outdoor and indoor theatres, the latter were smaller, posher and more expensive because they had to be lit with candles (see the Sam Wanamaker playhouse which is a modern replica). You wouldn’t have had bears in there!
Was the Curtain an indoor theatre? Just now reading James Shapiro's 1599.
The Globe was south of the river, wasn't it? Were the ones on the north posher?
It was very odd and creepy! How cool that it might have been a real bear! I still have my ticket, Rebekah (it's on my fridge with the magnet) - I'll try to remember to look up the date I was there. Such a small world!
I went with my Dad a long time ago but I’m sure I have the ticket somewhere…
Content warning: two star-crossed lovers take their lives.
Yes, that's a full-on spoiler.
Ooh I like that! Dramatic-irony-in-prologue as implied content warning....
Justice for Flomber!
Don't worry, he gets his revenge in act 17 scene 43
Phew! Looking forward to Flomber II.
Ah yes ‘Son of Flomber’
Hahaha I love the work of the forgotten lesser playwright 😉
There's plenty more where that came from haha
Well done!
Thanks, John!
I don’t like content warnings for myself because they feel like spoilers, but I understand their value when choosing what to make available to a child or to someone wishing to avoid triggers.
I’m pretty similar, I think they’re a good option but I like to avoid seeing them myself.