Thematische Bibliographien / Sarah Kane; Drama / Zeitschriftenartikel
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Zeitschriftenartikel zum Thema „Sarah Kane; Drama“

Autor: Grafiati
Veröffentlicht am 7. Juni 2025
Zuletzt aktualisiert am 2. August 2025

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1

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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11

Othman, Ibrahim, and Jihene Gharbi. "Gender Dynamics in 20th-Century British Drama: The Female Experience in Kane, Churchill, and Pinter." International Journal of Educational Sciences and Arts 4, no. 2 (2025): 26–46. https://doi.org/10.59992/ijesa.2025.v4n2p2.

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This article explores the portrayals of female characters in the works of Caryl Churchill, Sarah Kane, and Harold Pinter, examining how these playwrights reflect and challenge socio-political changes in gender roles throughout the 20th century in British drama. Through a comparative analysis, the article highlights common themes such as power, agency, and societal expectations, while also addressing the distinct stylistic approaches each playwright employs. Churchill's narratives emphasize collective female experiences and the complexities of ambition, Kane's works confront trauma and personal
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Rutherford-Johnson, Tim. "Philip Venables 4.48 Psychosis, Royal Opera House at Lyric Hammersmith, London; Liza Lim Tree of Codes, Musikfabrik, Cologne Opera, Cologne." Tempo 70, no. 278 (2016): 90–92. http://dx.doi.org/10.1017/s0040298216000449.

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As the first Doctoral Composer-in-Residence of the Royal Opera House and Guildhall School of Music and Drama, Philip Venables has – some might say bravely – chosen to adapt 4.48 Psychosis, the last play by the late British playwright Sarah Kane. Brave for several reasons. Kane's work is renowned for its naked, sometimes brutal, expression and themes, and the nihilism and violence of her plays have caused critical uproar in the past. Moreover, her estate has until now been understandably protective of her legacy; Venables's opera, premiered in May, is the first adaptation they have permitted, a
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13

Barnett, David. "When is a Play not a Drama? Two Examples of Postdramatic Theatre Texts." New Theatre Quarterly 24, no. 1 (2008): 14–23. http://dx.doi.org/10.1017/s0266464x0800002x.

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In this article David Barnett investigates the ways in which plays can be considered ‘postdramatic’. Opening with an exploration of this new paradigm, he then seeks to examine two plays, Attempts on her Life by Martin Crimp and 4:48 Psychosis by Sarah Kane, in a bid to understand how their texts frustrate representation and the structuring of time, and concludes by considering how the restrictions imposed upon the postdramatic performance differ from the interpretive freedom of text in representational, dramatic theatre. David Barnett is senior lecturer and Head of Drama at the University of S
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Tashkenov, Sergey. "Nauseating Drama: From Disgust to Catharsis (Review of Sarah J Ablett’s book Dramatic Disgust: Aesthetic Theory and Practice from Sophocles to Sarah Kane, Bielefeld, 2020)." Novoe literaturnoe obozrenie, no. 1 (2022): 337–44. http://dx.doi.org/10.53953/08696365_2022_173_1_337.

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15

Dominte, Carmen. "DramAcum – The New Wave of Romanian contemporary dramaturgy." Swedish Journal of Romanian Studies 2, no. 1 (2019): 62–75. http://dx.doi.org/10.35824/sjrs.v2i1.18816.

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During the nineties, a new theatrical trend developed. It was called New European Drama or New Writing. It was represented by authors such as the British Sarah Kane, Mark Ravenhill or the German playwright Marius von Mayernburg. The classical theatre will never be able to return to itself, unless giving the spectator the utopian sense of life that only a staged play could perform, not from a delusive perspective, but from a real and personalized perspective, giving a certain meaning to reality. Being against the conservatory type, the authors put an end to all the theatrical conventions. They
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16

Pavićević, Jovana. "INTERTEKSTUALNO ČITANjE DRAME „ŽUDNjA“ SARE KEJN." Nasledje Kragujevac XIX, no. 51 (2022): 319–32. http://dx.doi.org/10.46793/naskg2251.319p.

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According to Aleks Sierz (2001: 118), Sarah Kane’s Crave needs four different reading strat- egies to fully uncover its meanings. This paper takes one of those strategies – an intertextual reading – to examine the play’s echoes of R. W. Fassbinder, Martin Crimp, and T. S. Eliot. Fassbinder’s play Pre-Paradise Sorry Now, Crimp’s play Attempts on Her Life, and Eliot’s poem The Waste Land enable Sarah Kane to combine materials – forms, sources, messages, sounds, dialogues and solos – into a complex dramatic structure that unsettles the plot-and-character conventions of realism. De-individualized
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Carney, Sean. "The Tragedy of History in Sarah Kane's Blasted." Theatre Survey 46, no. 2 (2005): 275–96. http://dx.doi.org/10.1017/s0040557405000165.

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The first performance of Sarah Kane's Blasted in 1995 is already widely regarded as a landmark in the history of contemporary theatre in England, singled out for the same reason that Edward Bond's 1965 Saved and Howard Brenton's 1980 The Romans in Britain achieved notoriety. Blasted belongs in this genealogy of English plays in that all drew attention to themselves with instances of raw violence represented onstage and contextualized within situations of scathing social criticism. Saved contains an infamous scene in which the apathy of a group of dispossessed urban youths leads them to the cas
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Roof, Judith. "Theatrical Psychosis and Analysis: Harold Pinter’s New World Order and Sarah Kane’s 4:48 Psychosis." Harold Pinter Review 8 (October 2024): 101–7. https://doi.org/10.5325/haropintrevi.8.1.0101.

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ABSTRACT In staging both conscious and unconscious fear in often threatening contexts, plays by Sarah Kane and Harold Pinter invite audiences to identify with the characters’ fears and anxieties, just as the the plays’ characters may (or may not) play out some of the fears of the audience. In Sarah Kane’s 4.48 Psychosis (2000) and Harold Pinter’s New World Order (1995), the stage is the site of psychic projections and processes enacted by characters and situations, either in specifically psychoanalytic scenarios, as in 4.48 Psychosis or in New World Order’s face-offs in which characters bully
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Hadiansyah, Mahendra Nur, and Alvin Sofyan Hendrawan. "Persepsi Ruang Pada Interior Restoran Donwoori Bandung." Waca Cipta Ruang 6, no. 2 (2020): 42–50. http://dx.doi.org/10.34010/wcr.v6i2.3436.

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Keberhasilan tercapainya tematik ruang oleh persepsi pengunjung salah satunya dipengaruhi oleh desain interior dan elemen pendukungnya. Sebuah kajian tentunya akan sangat bermanfaat untuk mengukur sejauh mana suatu tematik mampu menciptakan suasana dalam persepsi pengunjung. Restoran Donwoori merupakan kafe dan restoran bertema Korea yang terletak dijalan Lombok, Kota Bandung. Menurut hasil wawancara dengan beberapa pengunjung, nuansa drama Korea sangat kuat dirasakan dalam interiornya. Penelitian bertujuan mengetahui bagaimana peran drama Korea menjadi acuan dalam sebuah gaya desain interior
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Zhulina, Alisa. "The Invisible Stage Hand; or, Henrik Ibsen's Theatre of Capital." Theatre Survey 59, no. 3 (2018): 386–408. http://dx.doi.org/10.1017/s0040557418000315.

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“Theatre is not political action. Political action happens in the streets.” This is how the German director Thomas Ostermeier addressed the audience in a recent conversation with Branden Jacobs-Jenkins at the Brooklyn Academy of Arts. All theatre can do is make us realize the “lies we tell ourselves.” Thomas Ostermeier made a name for himself staging the socially conscious dramas of Sarah Kane and Mark Ravenhill. After becoming the artistic director of Berlin's Schaubühne, Ostermeier turned to Henrik Ibsen because he thought that Ibsen's bourgeois world would appeal to the patrons of the Schau
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Nicolás Roman, Susana. "Blasted de Sarah Kane: Revisión del escándalo una década después." ODISEA. Revista de estudios ingleses, no. 8 (February 20, 2017). http://dx.doi.org/10.25115/odisea.v0i8.107.

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ResumenBlasted, la ópera prima de Sarah Kane, provocó una exacerbada ola de críticas desde su estreno en 1995 por su presentación extremadamente transgresora de la realidad de la guerra de Yugoslavia. Este artículo presenta una revisión de las críticas iniciales, próximas a la censura, un recorrido por los aspectos centrales de la obra para concluir con la consideración actual de Blasted como icono social del drama inglés contemporáneo. Esta aproximación nos permite analizar el cambio radical que ha sufrido la imagen de la última autora maldita de la escena inglesa y cómo el distanciamiento te
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Sibashvili, Tatia. "Sarah Kane’s Cleansed and the interpretation of George Orwell’s 1984 in the play." Text and Interpretation, 2023. http://dx.doi.org/10.55804/jtsu-2960-9461-2023-19.

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The article gives detailed analysis of Sarah Kane’s play Cleansed and the influence and interpretation of George Orwell’s novel 1984 in the play. Sarah Kane was the first dramatist, who fundamentally changed the 90’s British theatre and after her first play “Blasted” that was very scandalous the new style of plays became dominant on British stage called “In –yer- face” theatre. According to Sierz the widest definition of in-yer- face theatre is any drama that takes the audience by the scruff of the neck and shakes it until it gets the message. (Sierz 4: 2001) The primary function of this kind
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Bollig, Benjamin. "Spregelburd’s Stubbornness." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 26 (June 17, 2018). http://dx.doi.org/10.2218/forum.26.2772.

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 In recent years I have almost religiously gone to see something by or featuring Rafael Spregelburd whenever I visit Argentina, on stage or screen. On my last trip, this March, alongside two films(Florencia Percia’s debut Cetáceos and Lucrecia Martel’s historical drama Zama) and a talk, in conversation with the academic Gabriel Guz, it was his ambitious play La terquedad (Stubbornness). Spregelburd is widely acknowledged as one of Argentina’s most significant contemporary dramatists. His work appears regularly on European festival stages, and has won prizes worldwide. He ha
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Bremer, Kai. "„please open the curtains“. Über Sarah Kanes letztes Drama „4.48 Psychosis“." KWI-Blog, 2025. https://doi.org/10.37189/kwi-blog/20250127-0830.

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