In recent weeks, the debate surrounding content warnings in theatre has ignited passionate discussions within artistic circles and beyond.
Content warnings are designed to indicate potentially distressing or triggering content in theatrical productions, allowing individuals to make informed choices about their engagement with such material, fostering safety and accessibility within the theatrical landscape. This autonomy to protect oneself is especially significant, as it grants individuals the ability to navigate content in a way that respects their mental health and emotional wellbeing with a level of agency that may not have been available previously.
Renowned actors Sir Ian McKellen and Ralph Fiennes have ignited a debate surrounding the necessity of content warnings in theatre, both actors sharing a perspective on the issue. While Fiennes acknowledges the necessity of warnings for potentially harmful effects like strobe effects, he asserts that disturbing content, such as the graphic violence depicted in Shakespearean works like Macbeth and King Lear, is essential to the theatrical experience. He recalls his own involvement in theatre as a young man, remarking: “I never experienced trigger warnings. (...) I think the impact of theatre should be that you’re shocked and you should be disturbed. I don’t think you should be prepared for these things and when I was young, (we) never had trigger warnings for shows.” He adds: “We go to the theatre to be shocked”.
(Do we, always? I also go to the theatre to have a good time, depending on how I’m feeling that day.)
Culture Secretary Lucy Frazer echoes Fiennes point of view and says “I think we should treat people who go to the theatre in an adult way.”
The assertion that theatre productions involving "uncomfortable issues" should not necessitate content warnings represents a broader dismissal of the importance of sensitivity towards diverse audience needs. Frazer's sentiment, echoed by others who perceive trigger warnings as unnecessary hand-holding, fails to acknowledge the individualised nature of trauma and the role of autonomy in navigating potentially triggering content.
Sir Ian McKellen dismisses the need for content warnings as "ludicrous," expressing a preference for the element of surprise in theatrical productions. He says he “quite like[s] to be surprised by loud noises and outrageous behaviour on stage.”
Well, good for him. Others might not. Also a warning for loud noises doesn’t actually give the audience any information on when the loud noise will happen, keeping spontaneity and unpredictability that contribute to the thrill of live theatre intact.
Dr. Who actor Matt Smith agrees with both Fiennes and McKellen regarding the shock theatre should bring about. He adds: “I worry sometimes that we’re moving towards a sort of sanitised version of everything and we’re stripping the danger and the invention and the ingenuity out of everything. Isn’t art meant to be dangerous?”
All three point out that content warnings diminish or remove the power of the unknown or unexpected. However, does knowing a story beforehand not literally do this too?
I am confident enough in saying that most people going to see Macbeth know what the play is about, which already takes away the unexpected. And if you are a new theatre goer that has never heard about Macbeth before and see a content warning mentioning gore/ violence you have not been spoiled regarding the plot, characters involved or time of occurrence. You just got a general heads up.
Actor Christopher Biggins complains: “Do we have to have signs for everything under the sun? It’s a joke. What they are trying to do is insulting to the mentality of theatregoers.”
But are content warnings not doing the exact opposite and support people’s mental health?
Content warnings are not there to treat audiences as fragile beings who will combust at the hint of anything offensive, but instead they are an anchor and support for individuals to use - if they need to. And this is the point: They don’t take anything away from others, the actual play, the actor’s abilities or the magic of live performances. Instead they make theatre more accessible for all.
British theatre director, producer and director of the WOW Foundation, Jude Kelly, draws a comparison to health warnings on cigarette packets. “It’s not infantilising people, it’s enabling informed choice. (...) People have always made a judgement about whether to see something – ‘that sounds a bit miserable, I think I’ll give it a miss’. Content warnings are aimed at a minority of people, but they’re entitled to be taken into account. They’re not going to change the course of British drama.”
Just to peek into Pandora’s Box, it is interesting to note that the most public critical voices in this debate have been those of middle-aged and old white men.
Imposing rigid and generalised definitions or expectations on what theatre (and art) should be about or achieve, restricts individuals from forming their own interpretations and perspectives. It is important to allow people the freedom to engage with theatre in a way that resonates with them personally, rather than prescribing a singular understanding or experience. This includes the decision of what kind of themes and topics they want to engage with at a specific moment in time.
Fiennes', McKellen’s and Smith’s statements that content warnings detract from theatre's visceral impact overlooks the diverse backgrounds and sensitivities of audience members, failing to acknowledge the lived experiences of those who may be triggered by certain themes or imagery. While theatre has always thrived on its ability to provoke and challenge - and should continue to do so, pushing boundaries and provoking thought - it is essential to recognise that not all individuals possess the same capacity to navigate potentially distressing content at every moment of their lives.
Personal experiences form an individual's capacity to engage with the world, this capacity is, like everything else, fluid. Content warnings serve as a gesture of compassion, extending a lifeline to those who may be grappling with trauma or navigating sensitive topics. They are not symbols of weakness or fragility, but rather tools of empowerment and inclusivity.
This is not only relevant for theatre, of course. In this debate Matt Smith also says “I always thought that was one of the great things of doing Doctor Who is that you scare children but in a controlled way. But you did scare them. I mean imagine going to kids watching Doctor Who ‘By the way this might scare you’. No, I’m not into it.”
Well, I am in a way. I am a mother and I know what my child might find scary. So, within the context of the media she is allowed to consume, I do give her content warnings and let her decide what she wants to see because I trust that she knows her own limits. Her favourite film is Frozen 2 but sometimes she wants me to skip the scene where Elsa freezes because she thinks it’s too sad. Most of the time she doesn’t skip it, but still thinks it’s sad. Mental capacity fluctuates.
Opponents of trigger warnings often argue that theatre is meant to provoke discomfort and challenge audiences, suggesting that forewarning diminishes the impact of the art form. However, this perspective overlooks the fact that content warnings neither seek to sanitise or dilute theatrical experiences, nor to censor or restrict artistic expression, but rather facilitate informed choices and enhance the accessibility of theatre by ensuring individuals engage with the experience in a manner that prioritises their mental wellbeing.
Empirical research on the efficacy of content warnings by Clinical Psychological Science, published in August 2023, suggests that content warnings do not detract from the emotional impact or educational value of theatrical experiences. Contrary to claims that content warnings foster a culture of avoidance, studies indicate that they can actually enhance engagement by allowing individuals to emotionally prepare for distressing content.
Content warnings offer a simple yet effective mechanism for promoting inclusivity and ensuring that everyone can participate in theatrical experiences.
The debate surrounding content warnings in theatre underscores broader tensions surrounding accessibility, autonomy, and representation within the arts. Rather than dismissing content warnings as unnecessary or restrictive, we must recognise their role in promoting safety and inclusivity for all members of society. By embracing sensitivity and empathy at the same time as pushing boundaries, theatre can fulfil its potential as a transformative and enriching medium that speaks to the diverse experiences of being human, as the true essence of art lies not solely in its ability to shock, but in its capacity to inspire understanding and connection through perspectives that we may not be aware of or have not contemplated.
Jo Mary Watson is a writer, poet and artist currently on our Wicked Women Course, follow them on Twitter & instagram
Sources:
(Sorted by date of publication new - old)
We go to the theatre to feel something – and people do. Trigger warnings don’t stop that | Arifa Akbar | The Guardian (22/02/2024)
Doctor Who's Matt Smith on trigger warnings: “Isn't art meant to be dangerous?” (20/02/2024)
In defence of trigger warnings | ArtsProfessional (12/02/2024)
Ralph Fiennes is right! Ban theatre trigger warnings – they’re for softies | The Independent (12/02/2024)
Audiences have gone 'soft' - Ralph Fiennes - BBC News (11/02/2024)
Scrap trigger warnings for theatre audiences, says Ralph Fiennes | Stage | The Guardian (11/02/2024)
‘It’s ludicrous’: Ian McKellen sparks debate over trigger warnings in theatre (02/10/2023)
Bridgland, V. M. E., Jones, P. J., & Bellet, B. W. (2023). A Meta-Analysis of the Efficacy of Trigger Warnings, Content Warnings, and Content Notes. Clinical Psychological Science, 0(0). https://doi.org/10.1177/21677026231186625
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