Mark Ravenhill writes about the ‘hunger for the epic’, the apparent need in a world devoted to the soundbite and fleeting images, a world where ‘brevity is everything’, for something meatier: the doorstop novel (he cites Harry Potter), the epic movie (Pirates of the Caribbean) and the hours-long stage play (David Edgar’s popular adaptation of Nicholas Nickleby for the RSC).
Ravenhill has been presenting a series of breakfast-time plays at the
Maybe Ravenhill is right that people are now hungering after more intellectually-challenging literary or theatrical experiences. But could it not be that the popularity of his festival plays is down to their shortness and the linguistic compactness which this allows, the piecemeal presentation which gives the audience the chance to breathe and think and ‘gradually see the rules and patterns’ of the larger project? And could this be why short stories now seem to be on the up?