This volume contains the complete collection of Sarah Kane's plays, including "Blasted"; "Phaedra's Love"; "Cleansed"; "Crave"; "4.48 Psychosis"; and "Skin".
This Student Edition of Sarah Kane's seminal play Blasted features expert and helpful annotation and is an accessible guide for anyone studying or performing the play. This includes a scene-by-scene summary, a detailed commentary on the dramatic, social and political context, and on the themes, characters, language and structure of the play, as well a list of suggested reading, questions for further study and a review of performance history. In 1995 Sarah Kane's first full-length play Blasted sent shockwaves throughout the theatrical world. Making front-page headlines, the play outraged critics with its depiction of rape, torture and violence in civil war. However, from being roundly condemned by the critics ('this disgusting feast of filth' Daily Mail), the play is now considered a seminal work of European theatre and has defined an entire era of stage writing. Blasted's canonical status reflects the raw beauty and terror of Kane's writing. Probing the brutality people inflict upon one another, the suffering and violation, the play also looks at the role of love and the redemption it offers. Unafraid to delve into darkness, this is a provocative, fragmenting piece full of significance and power.
Two provocative new plays from the notorious author of BLASTED, which probe the nightmarish world of twenty-something who are coming to grips with sexuality, social ostracism and the effects of drugs. Cleansed will premiered at the Royal Court Theatre in the spring of 1998 and Crave premiered at the Traverse Theatre, Edinburgh, during the 1998 Edinburgh Festival.
Love Me or Kill Me is the first study of Sarah Kane, the most significant British dramatist in post-war theater. It covers all of Kane's major plays and productions, contains hitherto unpublished material and reviews, and looks at her continuing influence after her tragic early death. Locating the main dramatic sources and features of her work as well as centralizing her place within the 'new wave' of emergent British dramatists in the 1990's, Graham Saunders provides an introduction for those familiar and unfamiliar with her work.
First single volume edition of this bold version of a classic by Sarah Kane Sarah Kane's radical reworking of Seneca's classical tragedy of incest and unrequited lust. Phaedra's Love is a bold and provocative revisioning of the story of Phaedra's obsessive and destructive love of her son Hippolytus and his violent punishment by Theseus.Kane's achievement is to have humanised the antics of the pounding royals. Her sulphurous dialgoue is full of reeking toughness' Evening Standard 'Sarah Kane's writing is both daring and accomplished' Time Out 'Pure theatre or rather impure theatre: dirty, alarming, dangerous' Observer 'delivered with punch and laced with black humour' Financial Times
From the controversy in 1995 that heralded Blasted, to her death in February 1999, Sarah Kane built a reputation as an established playwright of international stature. This is the first volume of collected essays by some of the leading scholars in their field, providing a comprehensive approach to the body of work she produced in this brief period. Essays included cover the political, literary, and theatrical identities that have exerted influence on Kane’s work, as well as a discussion and assessment of her innovative theatrical experiments and the performative issues that arise from within the plays. Sarah Kane in Context examines one of the most controversial and influential dramatists who emerged during the "In-Yer Face" generation of British dramatists in the 1990s and provides an essential guide to Kane for students and scholars alike.
4.48 Psychosis sees the ultimate narrowing of Sarah Kane's focus in her work. The struggle of the self to remain intact has moved in her work from civil war, into the family, into the couple, into the individual, and finally into the theatre of phychosis: the mind itself. This play was written in 1999 shortly before the playwright took her own life at age 28. On the page, the piece looks like a poem. No characters are named, and even their number is unspecified. It could be a journey through one person's mind, or an interview between a doctor and his patient.