Aleks Sierz.

At his own new Web site, Aleks Sierz, whose book Rewriting the Nation I discussed in March here, brings us up to date on plays from the last few years of new British writing for the theatre. While dramatists have been responding to current world events through various forms of journalism, both formal and informal, Sierz says that the strongest of these new plays take an “indirect” approach to current affairs:

The latest addition to the London skyline is the Shard, the tallest building in Europe. But although this example of architecture on steroids has drawn praise, today the most striking thing about it is that it seems to be a symbol from an era whose free-market values are now being questioned. Power architecture from the past. Today, of course, this kind of construction is being viewed by a society which is increasingly criticising the system that built it. At a time when signs of dissent are unmistakable, it is worth asking two questions: how is this reflected in British new writing? And using what theatrical styles? Much new writing is stuck in the past. Its default position is worship of one old god: journalistic social comment. Who cares if the play is any good? What matters is that it represents an issue and a recognisable social context in a naturalistic way. But a handful of theatre-makers are opposing this means of representation, and with increasing vigour.

Sierz is asking these questions about British new writing, of course, but the questions are just as valid for American new writing as well. Points to ponder; Sierz’ essay in full is here.