Theresa Rebeck on the current postmodernist hostility towards plot and coherence

I was hosting a session at the Lark, a New York developmental theater that helps playwrights build plays in a workshop setting, and one of the writers presented a beautifully written complete mess of a play. After many people, including myself, praised the grace of the writing, I admitted that I found the play incoherent. The writer nodded and laughed, delighted at my response. "I just wanted to stay away from anything that resembled a plot," she explained.

"Oh, well, plot," I said.

Here's a plot: Two guys are waiting for somebody big and important to show up. That guy never shows up, but somebody else does. They go back to waiting, and then the tree grows.

Here's another plot: A lonely guy lives on a farm for a long time. He gets bored with his life. He gets a crush on his sister-in-law, and she gets a crush on his friend. Eventually, everyone goes home, only now all of them are even lonelier than they were before.

Here's another plot: A king divides his kingdom between two of his daughters. All hell breaks loose.

I think it goes without saying that young would-be playwrights in developmental workshops should be so lucky as to write plays as good as "Waiting for Godot," "Uncle Vanya" or "King Lear," none of which would have existed without a decent plot. Obviously a theatrical masterpiece needs more than a plot; many television shows are nothing but plot, and it is doubtful that they will stand the test of time. But I also don't think that making fun of plot, or acting like we're all somehow "above" structure is such a good idea.
Read more here.