Charles McNulty, from the LA Times, has a strong opinion about the precise language of Beckett and Pinter, and why we don’t see more of it:
Beckett, 20th century playwriting’s No. 1 game-changer, and Pinter, his most original disciple, were writers steeped in literature. Their education and training didn’t come courtesy of an M.F.A. program, with its cramped curriculum divorcing the stage from the other arts….
The looseness of so much of today’s playwriting comes in no small part from the shift away from dramatic poetry to dramatic writing, a less medium-specific pursuit in which the “storyboarding” of plots is considered equally applicable to theater, film and television. What’s important is a good yarn rather than a trenchant vision. The stage in this scheme is nothing but a steppingstone to a more remunerative opportunity.
A definite entry into the “should I get an M.F.A.?” debate.