Thematische Bibliographien / Sarah Kane; Drama

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Auswahl der wissenschaftlichen Literatur zum Thema „Sarah Kane; Drama“

Autor: Grafiati

Veröffentlicht am 7. Juni 2025

Zuletzt aktualisiert am 2. August 2025

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Zeitschriftenartikel zum Thema "Sarah Kane; Drama"

Amaral, Lara Luiza Oliveira. "Para os não nascidos: a peça-suicídio de Sarah Kane." Revista Criação & Crítica, no. 23 (April 26, 2019): 103–19. http://dx.doi.org/10.11606/issn.1984-1124.v23i23p103-119.

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Virginia Woolf escreve uma carta antes de ir em direção ao rio com os bolsos cheios de pedras. Sylvia Plath anota o número do telefone de seu psiquiatra em cima da mesa próxima ao fogão. Sarah Kane escreve sua última peça antes de retirar os cadarços para se enforcar. 4.48 Psychosis se torna uma espécie de “bilhete suicida” deixado por Kane antes do seu ato final. Pretendemos, neste trabalho, analisar não somente a autoaniquilação, tema central da peça, como também a sua relação com as teorias do pós-drama e a influência do lirismo na escrita e a imersão na interioridade da personagem. Para ta

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Silva, Josivaldo Santos, and Maria Isabel Gomes Dos Santos. "Phaedra´s love: tragedia reinventada de Sarah Kane." OBSERVATÓRIO DE LA ECONOMÍA LATINOAMERICANA 21, no. 10 (2023): 18311–20. http://dx.doi.org/10.55905/oelv21n10-204.

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No cenário da dramaturgia inglesa houvesse grandes escritores que trabalharam temáticas e aspectos fundamentais para a evolução e desenvolvimento de movimentos, sempre com o intuito de instigar a população e atrair olhares para assuntos delicados ou omitidos por uma força maior. A autora Sarah Kane uma jovem britânica, foi uma das influenciadoras e contribuinte para o drama nos palcos e em redes de televisão, com base em seu potencial e confiabilidade phaedra´s love surge através da releitura da obra de Racine e Sêneca para potencializar sua carreira e fomentar a crítica. Este trabalho tem com

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Beh, Emmerencia Sih. "Dramatic shift: Conservative to Avant-garde in Sarah Kane’s “4.48 Psychosis”." Religación. Revista de Ciencias Sociales y Humanidades 6, no. 28 (2021): 142–53. http://dx.doi.org/10.46652/rgn.v6i28.792.

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Drama is a genre in literature that recreates not only existing actions but also interprets the different versions of truth put on stage. Sarah Kane, a dramatist, is usually associated with the new theatrical form of writing called the in-yer-face theatre. Kane, after writing her last play, 4.48 Psychosis commits suicide. For this reason, many critics consider this play as a ‘suicide notes’ which makes it limiting since these critics do not pay attention to her extensive use of styles and her experimental shift from conservative to avant-garde dramatic constructions. While her earlier works Bl

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Zengin, Mevlude. "The Postmodern Parasitic Self in Sarah Kane’s “Phaedra’s Love”." Toplum ve Kültür Araştırmaları Dergisi, no. 15 (June 30, 2025): 79–96. https://doi.org/10.48131/jscs.1605111.

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Phaedra’s Love (1996) is a typical Sarah Kane play with its inversion of the classical Greek convention of not performing violence on stage and its subversion of British Theatre traditions. It is also typical in the sense that Kane employed in it —as in her other plays— the actions which are challenging for the directors and difficult to watch for the audience; i.e. it is a play staging the unstageable. These features of Phaedra’s Love may be attributed to its being a play of in-yer-face theatre; however, the extremities in the extremes such as violence and sexuality of all kinds and the filth

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Colangelo, Jeremy. "A Private Honesty: Torture and Interiority in the Theatre of Sarah Kane." New Theatre Quarterly 38, no. 4 (2022): 379–93. http://dx.doi.org/10.1017/s0266464x22000276.

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This article analyzes the role of pain and torture in the construction and destruction of subjectivity by way of a comparison of the depictions of torture in the theatre of Sarah Kane and Elaine’s Scarry’s highly influential The Body in Pain: On the Making and Unmaking of the World. The essay uses Kane in conjunction with the phenomenology of Emmanuel Levinas, as well as relevant work on the history and sociology of privacy and private speech. Its purpose is to develop an account of what is here called pain’s bi-directional character, or its capacity to represent both the presence and the abse

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Setayesh, Sara, and Alireza Anushiravani. "An Exploration of Some Aspects of the Modern Grotesque in Kane's Drama." LiBRI. Linguistic and Literary Broad Research and Innovation 8, no. 1 (2025): 45–55. https://doi.org/10.5281/zenodo.14959581.

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AbstractSarah Kane’s drama demonstrates modern fascination with the grotesque. In this study some aspects of the modern grotesque in Kane’s drama are discussed using some of Bakhtin’s, Kayser’s and McElroy’s findings to depict how modern grotesque represents the world as monstrous since although some critics have stressed the grotesque’s playful side, the moderns invested dread and fear into the concept of the grotesque. So the aim is to localize representative examples of the prime characteristics of the modern grotesque world and characters in Kane’s

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Urban, Ken. "Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the 'Nineties." New Theatre Quarterly 20, no. 4 (2004): 354–72. http://dx.doi.org/10.1017/s0266464x04000247.

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The explosion of ‘in-yer-face’ theatre that dominated the British stage in the 'nineties has had both vocal champions and detractors. Here, Ken Urban examines the emergence of this kind of theatre within the cultural context of ‘cool Britannia’ and suggests that the plays of writers such as Mark Ravenhill and Sarah Kane explore the possibilities of cruelty and nihilism as a means of countering cynicism and challenging mainstream morality's interpretation of the world. Ken Urban is a playwright and director, whose plays The Female Terrorist Project and I [hearts] KANT are currently being produc

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Sierz, Aleks. "Still In-Yer-Face? Towards a Critique and a Summation." New Theatre Quarterly 18, no. 1 (2002): 17–24. http://dx.doi.org/10.1017/s0266464x0200012x.

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The dramatic upsurge of contemporary new writing on British stages in the past decade, and the emergence of a fresh generation of playwrights led by such talents as Mark Ravenhill, Philip Ridley, Joe Penhall, Phyllis Nagy, Patrick Marber, and the late Sarah Kane, has been variously characterized as the ‘New Brutalism’ or even, in Germany, as the ‘Blood and Sperm Generation’. Here, Aleks Sierz summarizes the argument for ‘In-Yer-Face Theatre’ as the most pertinent and inclusive description for the phenomenon, listing its salient characteristics and suggesting the areas in which it is most vulne

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Saunders, Graham. "‘Out Vile Jelly’: Sarah Kane's ‘Blasted’ and Shakespeare's ‘King Lear’." New Theatre Quarterly 20, no. 1 (2004): 69–78. http://dx.doi.org/10.1017/s0266464x03000344.

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Sarah Kane's notorious 1995 debut, Blasted, has been widely though belatedly recognized as a defining example of experiential or ‘in-yer-face’ theatre. However, Graham Saunders here argues that the best playwrights not only innovate in use of language and dramatic form, but also rewrite the classic plays of the past. He believes that too much stress has been placed on the play's radical structure and contemporary sensibility, with the effect of obscuring the influence of Shakespearean tradition on its genesis and content. He clarifies Kane's gradually dawning awareness of the influence of Shak

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Morin, Emilie. "‘Look Again’: Indeterminacy and Contemporary British Drama." New Theatre Quarterly 27, no. 1 (2011): 71–85. http://dx.doi.org/10.1017/s0266464x11000066.

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The integration into conceptual art of techniques inspired by Fluxus (the international aggregate of artists who saw indeterminacy as imaginatively and linguistically enabling) has, in turn, given rise to a specific line in British playwriting since the mid-1990s, as evidenced in plays by Martin Crimp, Sarah Kane, and Tim Crouch which gesture towards conceptual art, performance art, and the event score. In this article Emilie Morin brings to light the affinities between this artistic moment in contemporary British theatre and the international avant-garde. She discusses the shared interest of

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Dissertationen zum Thema "Sarah Kane; Drama"

Hamman, Frans Josias. "Sarah Kane en die liriek as literêr-musikale interteks." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6475.

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Thesis (MDram)--University of Stellenbosch, 2011. AFRIKAANSE OPSOMMING: Die literêre interteks staan sentraal tot die teks-analitiese proses en die gevolglike ontsluiting van betekenis binne die oeuvre van Sarah Kane, maar in die huidige besprekings van haar werk, word hierdie interteks alleenlik tot literatuur soos die roman, die gedig en die teaterteks beperk. Die gevolg is dat daar ‘n totale verontagsaming van die neerslag van die liriek as nóg ‘n tipe literêre interteks is. Beide James Macdonald (in Fisher 2001b) en Iain Fisher (2001b) dui daarop dat lirieke van heelparty orkeste -

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Ayache, Solange. "‘In-Yer-Head’ Theatre : Staging the Mind in Contemporary British Drama. Towards a Quantum Psychopoetics of the Stage." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040010.

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Cette étude s’intéresse à l’espace mental comme nouveau terrain d’exploration du drame britannique contemporain, et examine les manifestations d’un mouvement qui « met en pièces » les régions inexplorées des pensées inconscientes et les contrées impénétrables du traumatisme. Puisant dans les découvertes de la psychanalyse et des sciences cognitives, inspiré par le changement de paradigme de la mécanique quantique et ses interrogations sur le rôle et la nature de la conscience, ce théâtre non plus tant « in-yer-face » que « in-yer-head » s’éloigne de la sensibilité des années 1990. Les pièces d

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Bal, Mustafa. "The End: The Apocalyptic In In-yer-face Drama." Phd thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12610781/index.pdf.

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This thesis presents a close analysis of one of the ageless discourses of human life &ndash apocalypse, or the End &ndash within the highly controversial In-Yer-Face drama of the 1990s British stage. The study particularly argues that there is a strong apocalyptic sense in the plays of the decade, and it discovers that the apocalyptic representation within these plays varies. Five plays by three prominent playwrights of the decade are used to illustrate and expand the focus. After a detailed examination of the apocalyptic discourse, it is claimed that Mark Ravenhill&rsquo s Shopping a

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Dodet, Cyrielle. "Entre théâtre et poésie : devenir intermédial du poème et dispositif théâtral au tournant des XXe et XXIe siècles." Thèse, Sorbonne Paris Cité, 2015. http://hdl.handle.net/1866/13605.

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Thèse réalisée en cotutelle avec l'Institut d'Études théâtrales de l'Université Sorbonne nouvelle - Paris 3 Désireuse de s’affranchir d’une approche essentialiste et figée de la poésie au théâtre ainsi que d’une lecture générique, cette recherche envisage selon une méthodologie intermédiale les relations entre théâtre et poésie. En analysant un corpus témoin composé de créations textuelles et scéniques, elle montre comment la présence active de la poésie travaille le théâtre, et partant, elle les précise tous deux par leurs interactions. La première partie établit une généalogie de l’interm

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Buchler, Louise Anne. "In-yer-face : the shocking Sarah Kane." Thesis, 2008. http://hdl.handle.net/10413/213.

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Playwright, Sarah Kane emerged as a new voice in British writing in the early 1990s. Her work, recognized most notably for its shocking content, was the source of media hype, and rendered her work, with that of her peers, as In-Yer-Face Theatre. This dissertation analyses the use of shock in Kane‟s work, with particular reference to her first and last plays: Blasted and 4.48 Psychosis. I discuss the shock elements employed by Kane in these texts and consider the reasons behind their use, particularly Kane‟s break with realism and subversion of form. My research draws upon social constructionis

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Kovačeva, Elizabet. "Abjekce ve vybraných hrách Sarah Kane, Caryl Churchill a Tima Crouche." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-369982.

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Thesis Abstract The present thesis offers to read six plays by three contemporary British playwrights - Sarah Kane's Crave (1997) and 4.48 Psychosis (1999), Caryl Churchill's The Skriker (1994) and Far Away (2000), and Tim Crouch's ENGLAND (2007) and The Author (2009) through the lens of Julia Kristeva's essay on abjection, Powers of Horror (1982). Kristeva theorizes abjection as that which retains some resemblance to the subject or object, but is neither - or no longer belongs to the subject. Being confronted with the abject is unpleasant because it is threatening for the subject. It contains

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Angel, Cynthia. "Écriture de Toxi©que : suivie d'une analyse réflexive sur le poème dramatique." Mémoire, 2009. http://www.archipel.uqam.ca/2572/1/M11182.pdf.

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Ce mémoire-création comporte deux parties: une partie « création » et une partie « théorique ». La partie création consiste en l'écriture d'un poème dramatique qui porte le titre de Toxi©que. Ce texte se veut une exploration des nouvelles écritures dramatiques où la parole est action. L'analyse réflexive qui constitue la partie théorique de ce mémoire-création contient trois chapitres et sert à explorer les potentialités du poème dramatique au niveau littéraire, poétique et dramatique. Le premier chapitre sert à définir le poème dramatique dans le contexte de la crise du drame moderne. Le de

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Bücher zum Thema "Sarah Kane; Drama"

Saunders, Graham. 'Love me or kill me': Sarah Kane and the theatre of extremes. Manchester University Press, 2002.

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Kitzler, Agnes Maria. The influence of absurdist theatre on contemporary in-yer-face plays: A comparative analysis of plays, from Samuel Beckett to Sarah Kane. VDM, Verlag Dr. Müller, 2011.

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interviewer, Yi Sang-nan 1957, and Pak Sang-jun 1989 transcriber, eds. Iyagi ka saram ŭl mandŭlgo saram i iyagi rŭl mandŭnda: Kŭkchakka Yi Kang-baek ŭi sam kwa chakp'um : taedamjip. P'yŏngminsa, 2021.

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Megson, Chris. Sarah Kane. Routledge, 2009.

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Megson, Chris. Sarah Kane. Routledge, 2009.

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Sarah Kane In Context. Manchester University Press, 2011.

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Vos, Laurens De. Cruelty and Desire in the Modern Theater: Antonin Artaud, Sarah Kane, and Samuel Beckett. Rowman & Littlefield Publishers, Incorporated, 2011.

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Vos, Laurens De. Cruelty and Desire in the Modern Theater: Antonin Artaud, Sarah Kane, and Samuel Beckett. Fairleigh Dickinson University Press, 2011.

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Vos, Laurens De. Cruelty and Desire in the Modern Theater: Antonin Artaud, Sarah Kane, and Samuel Beckett. Rowman & Littlefield Publishers, Incorporated, 2011.

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Love me or kill me: Sarah Kane and the theatre of extremes. Manchester University Press, 2002.

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Buchteile zum Thema "Sarah Kane; Drama"

Jeffrey, Ewan, and David Jeffrey. "Crises: Blasted, Sarah Kane (1995)." In Enhancing Compassion in End-of-Life Care Through Drama. CRC Press, 2022. http://dx.doi.org/10.1201/9781846199622-8.

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Urban, Ken. "The Body's Cruel Joke: The Comic Theatre of Sarah Kane." In A Concise Companion to Contemporary British and Irish Drama. Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470690987.ch8.

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"Crisis of Values and Loss of Center in the Plays of Martin McDonagh and Sarah Kane." In A History of Modern Drama. John Wiley & Sons, Ltd, 2016. http://dx.doi.org/10.1002/9781118893241.ch19.

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