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Journal articles on the topic 'In-Yer-Face Theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2023

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1

Sierz, Aleks. "Still In-Yer-Face? Towards a Critique and a Summation." New Theatre Quarterly 18, no. 1 (February 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 vulnerable to criticism. Aleks Sierz is theatre critic of Tribune and writes about theatre for several publications. He is the author of In-Yer-Face Theatre: British Drama Today (London: Faber, 2001) and teaches journalism at Goldsmiths College, University of London. An earlier version of this article was given as a paper at the In-Yer-Face Theatre: Sarah Kane and the New British Dramaturgy conference at Stendhal University 3, Grenoble, in May 2001.

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2

Hong, Ju-Young. "The Aesthetic Characteristics of In-Yer-Face Theatre." Joural of the Korea Entertainment Industry Association 8, no. 4 (December 31, 2014): 17. http://dx.doi.org/10.21184/jkeia.2014.12.8.4.17.

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3

Baş, Elif. "The Quest of Young Turkish Playwrights: In-Yer-Face Theatre." American, British and Canadian Studies 30, no. 1 (June 1, 2018): 114–32. http://dx.doi.org/10.2478/abcsj-2018-0007.

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Abstract In-yer-face theatre, which emerged in Britain in the 1990s, became extremely popular on the stages of Istanbul in the new millennium. Some critics considered this new outburst as another phase of imitation. This phase, however, gave way to a new wave of playwrights that wrote about Turkey’s own controversial problems. Many topics, such as LGBT issues, found voice for the first time in the history of Turkish theatre. This study examines why in-yer-face theatre became so popular in this specific period and how it affected young Turkish playwrights in the light of Turkey’s political atmosphere.

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4

De Vos, Laurens. "Aleks Sierz, In-Yer-Face Theatre. British Drama Today." Documenta 19, no. 2 (June 5, 2019): 123–26. http://dx.doi.org/10.21825/doc.v19i2.11369.

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5

Sierz, Aleks. "Cool Britannia? ‘In-Yer-Face’ Writing in the British Theatre Today." New Theatre Quarterly 14, no. 56 (November 1998): 324–33. http://dx.doi.org/10.1017/s0266464x00012409.

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The appearance of a succession of controversial and attention-catching new plays on the British stage in the 'nineties has led to considerable public discussion – and not a little ostensible outrage. In ‘an interim report’, Aleks Sierz examines the rash of plays about sex, drugs, and violence – notably Trainspotting, Blasted, Mojo, and Shopping and Fucking – by twenty-something authors, and asks whether they have anything in common beyond a flamboyant theatricality and the desire to shock. After showing how Cool Britannia's manifestation on the national stage has provoked arguments for and against this ‘in-yer-face’ drama, he outlines some of the common themes – such as the crisis of masculinity and the postmodern sensibility – that characterize much contemporary new writing. He argues that while these young writers are certainly gifted and mature, only subsequent theatrical revivals of their work will show whether it has anything lasting to say. Aleks Sierz is theatre critic for Tribune, and currently writing a book about ‘in-yer-face’ drama.

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6

Sierz, Aleks. "‘Me and My Mates’: the State of English Playwriting, 2003." New Theatre Quarterly 20, no. 1 (January 5, 2004): 79–83. http://dx.doi.org/10.1017/s0266464x03000356.

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Since his account of the Birmingham Theatre Conference in NTQ51, Aleks Sierz has taken the temperature of British playwriting in articles about ‘Cool Britannia’ (NTQ56) – from which developed his influential book, In Yer Face Theatre: British Drama Today (Faber, 2001) – ‘Still In-Yer-Face? Towards a Critique and a Summation’ (NTQ69), and a report on the Bristol conference (NTQ73). At a time when more new writing is being staged than probably at any period of British theatre history, here he laments the insular social realism which once more characterizes English (as distinct from Irish, Scottish, and American) playwriting, however modishly its characters may now be drawn from the underclass rather than the upper; and he identifies a ‘hunger for ideas’ among British audiences which is ill-satisfied by the dystopian despair of many would-be political dramatists.

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7

ÇAĞLAYAN, Ezel. "Suratına (In-Yer-Face) Tiyatro’da Bir İletişim Şekli: Gölge ve Katarsis A Communication Format in In-Yer-Face Theatre: Shadow and Catharsis." Aydın Sanat İstanbul Aydın Üniversitesi Güzel Sanatlar Fakültesi Dergisi 7, no. 13 (2015): 57–63. http://dx.doi.org/10.17932/iau.sanat.2015.015/sanat_v07i13005.

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8

Sierz, Aleks, and Mesut Günenç. "In Interview: Key Features of Contemporary British Drama." New Theatre Quarterly 39, no. 1 (January 30, 2023): 61–68. http://dx.doi.org/10.1017/s0266464x22000379.

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In this interview on 22 March 2022 in London, Mesut Gunenc talks to theatre critic and historian Aleks Sierz about how his work has influenced contemporary British drama, why he chose the name ‘in-yer-face theatre’ for 1990s avant-garde plays, and why some writers have rejected the label. They also discuss the differences between experiential and experimental theatre, especially focusing on the work of Anthony Neilson, and finish by considering the key themes that characterize 1990s new writing in Britain.Aleks Sierz is author of the seminal In-Yer-Face Theatre: British Drama Today (Faber, 2001), as well as of other work about new writing and post-war British theatre history. His more recent books include Rewriting the Nation: British Theatre Today (Methuen Drama, 2011), Modern British Playwriting: The 1990s (Methuen Drama, 2012), and Good Nights Out: A History of Popular British Theatre Since the Second World War (Methuen Drama, 2021). He has co-authored, with Lia Ghilardi, The Time Traveller’s Guide to British Theatre: The First Four Hundred Years (Oberon, 2015). Mesut Gunenc is Assistant Professor in the Department of English Language and Literature at Adnan Menderes University in Turkey. He is the author of Postdramatic Theatrical Signs in Contemporary British Playwrights (Lambert, 2017) and co-editor, with Enes Kavak, of New Readings in British Drama: From the Post-War Period to the Contemporary Era (Peter Lang, 2021). He is currently a visiting postdoctoral scholar at Loughborough University in the UK.

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9

El-Sawy, Amany. "The Space Aesthetics of In-Yer-Face Theatre in Phyllis Nagy's The Strip." Textual Turnings: An International Peer-Reviewed Journal in English Studies 2, no. 1 (December 1, 2020): 101–15. http://dx.doi.org/10.21608/ttaip.2020.133419.

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10

Urban, Ken. "Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the 'Nineties." New Theatre Quarterly 20, no. 4 (October 25, 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 produced by the Committee Theatre Company in New York City. His play about the first US Secretary of Defense, The Absence of Weather, will premiere in Los Angeles at Moving Arts Theatre Company, which has named it the winner of its national new play award. At the request of the Sarah Kane Estate, Urban directed the New York premiere of her play Cleansed. He teaches Modern Drama and Creative Writing in the English Department at Rutgers University, New Brunswick. An early version of this article was first presented at the ‘In-Yer-Face? British Drama in the 1990s’ conference at the University of the West of England, Bristol, in September 2002.

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11

ZARHY-LEVO, YAEL. "Dramatists under a label: Martin Esslin’s The Theatre of the Absurd and Aleks Sierz’ In-Yer-Face Theatre." Studies in Theatre and Performance 31, no. 3 (October 6, 2011): 315–26. http://dx.doi.org/10.1386/stp.31.3.315_1.

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12

Watt, Stephen. "Pinterian Violence and the Problem of Affirmation." Harold Pinter Review 5, no. 1 (May 1, 2021): 38–58. http://dx.doi.org/10.5325/haropintrevi.5.2021.0038.

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ABSTRACT This article positions Harold Pinter's later plays within the context of both rationalizations of violent means to achieve justifiable ends and a tradition of violent staging at the Royal Court Theatre. The former context includes explanations of violence in dramatic Tragedy, in Antonin Artaud's Theatre of Cruelty, and Edward Bond's political theatre; the latter, scenes of violence in the post–“In-Yer-Face” plays of Simon Stephens, David Ireland, and Jez Butterworth. The argument finally arrives at Pinter's increasingly negative worldview that while no discourse can justify the use of violent means to achieve desired ends, violence is both omnipresent and inevitable in human events.

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13

Bartleet, Carina. "In-Yer-Face Theatre: British Drama Today. By Aleks Sierz. London: Faber, 2001. Pp. xiii + 274. £12.99 Pb." Theatre Research International 29, no. 2 (July 2004): 187. http://dx.doi.org/10.1017/s0307883304220600.

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14

Ridley, Philip, and Aleks Sierz. "‘Putting a New Lens on the World’: the Art of Theatrical Alchemy." New Theatre Quarterly 25, no. 2 (May 2009): 109–17. http://dx.doi.org/10.1017/s0266464x09000207.

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Philip Ridley is one of the most imaginative and sensational playwrights working in Britain today. Born in 1964, he began by studying painting at St Martin's School of Art in London and wrote the highly acclaimed screenplay for The Krays (1990). He made his theatre debut at the Bush Theatre in 1991 with The Pitchfork Disney. Since then, other plays have included The Fastest Clock in the Universe (Hampstead, 1992), Ghost from a Perfect Place (Hampstead, 1994), Vincent River (Hampstead, 2000; Trafalgar Studios, 2007), and the highly controversial Mercury Fur (Paines Plough/Plymouth, 2005). This was followed by Leaves of Glass (Soho, 2007) and Piranah Heights (Soho, 2008). He's also written five plays for young people and many books for children, as well as directing two films from his own screenplays, The Reflecting Skin (1990) and The Passion of Darkly Noon (1995). Ridley continues to divide opinion: depending on your point of view, he's either Britain's sickest playwright or a singular, prolific, and amazingly visionary genius. What follows is an edited transcript of Aleks Sierz talking to Philip Ridley in one of the ‘Theatre Conversations’ series at Birkbeck Centre for Contemporary Theatre, University of London, on 25 October 2007. Aleks Sierz, a Contributing Editor of NTQ, is theatre critic of Tribune and author of the seminal study In-Yer-Face Theatre (Faber, 2001).

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15

Hamill, Kyna. "In-Yer-Face Theatre: British Drama Today. By Aleks Sierz. London: Faber & Faber, 2000; pp. 274. $17 paper." Theatre Survey 44, no. 02 (November 2003): 291–93. http://dx.doi.org/10.1017/s0040557403300146.

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16

Dominte, Carmen. "DramAcum – The New Wave of Romanian contemporary dramaturgy." Swedish Journal of Romanian Studies 2, no. 1 (May 16, 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 considered that it had to come to a point of changing the old patterns, of introducing new themes, new structures, new means of performing in the attempt of seducing and shocking the audience. Most of the dramatic texts focus on the plots about hard human existence such as racism, madness, suicide, sexuality, drug addiction and any type of abuse. The language is vulgar and slangy. All the dramatic texts when performed on stage invade the personal space of the people watching, who is now considered one of the characters. It is not only the dramatic text that is taken into consideration, but the performance itself. The new type of theatre developed in Russia, Poland and Romania, giving specific projects (Teatr.doc, The Drama Laboratory and DramAcum). All were influenced by the verbatim dramatic style performed in theatres under the slogan of the in-yer-face. The study intends to explore the importance of the Romanian theatrical project – DramAcum, as a new type of theatre and dramaturgy.

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17

Golban, Tatiana, and Derya Benli. "The Quest for An Authentic Self: Memory and Identity in Philip Ridley’s Mercury Fur." BORDER CROSSING 7, no. 2 (November 30, 2017): 305–16. http://dx.doi.org/10.33182/bc.v7i2.468.

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Although Philip Ridley’s popular play Mercury Fur (2005) represents, by its display of disturbing powerful images of violence and rape, one of the most shocking examples of in-yer-face theatre, the play’s major concern is rather with the authentic individual self and authentic human relationships. The purpose of this study is to reveal the ways in which Ridley’s dramatic work displays the search for an authentic self in a highly consumerist world. In this respect, Heidegger’s theory of Being along with various postmodern concepts such as memory, forgetting, and identity are discussed in relation to the success or failure of some characters of the play, who try to attain an authentic image of the self.

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18

FRIEZE, JAMES. "Naked Truth: Theatrical Performance and the Diagnostic Turn." Theatre Research International 36, no. 2 (May 31, 2011): 148–62. http://dx.doi.org/10.1017/s0307883311000228.

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In a fashion that harks back to the birth of naturalistic drama, but also reflects contemporary anxieties about the etiolation of the real, the forensic capabilities of theatre have become, in the last two decades, the primary focus of theatrical attention. Reconsidering landmark works and rhetorical frames that helped to establish verbatim, virtual and in-yer-face theatre, this article explores the ways in which these key works and genres deploy, and attempt to jam, theatre's diagnostic machinery. The article contextualizes that machinery in relation to the medical underpinnings of naturalism, the growth of theatrical reflexivity from Pirandello to Beckett to Blast Theory, and the televisual phenomena of crime-scene investigation and fly-on-the-wall ‘reality shows’. In the final section I move to address two works which are explicitly about diagnosis, but which, in signal and purposeful ways, evade diagnosis: Must, by American performance artist Peggy Shaw and British company Clod Ensemble; and If That's All There Is, by UK-based company Inspector Sands.

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19

Ravenhill, Mark. "A Tear in the Fabric: the James Bulger Murder and New Theatre Writing in the 'Nineties." New Theatre Quarterly 20, no. 4 (October 25, 2004): 305–14. http://dx.doi.org/10.1017/s0266464x0400020x.

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It is not yet ten years since Mark Ravenhill's Shopping and Fucking reached the stage of the Royal Court, during its West End exile in 1996; yet the play has already become, with Sarah Kane's Blasted, identified as central to the emergence of so-called ‘in-yer-face’ theatre. While Mark Ravenhill recognized the influence of such writers as Martin Crimp and David Mamet, it was only recently, during a discussion over coffee about a possible screenplay, that he began to consider the effects of both private and public events of 1993 upon his emergence as a writer – the death of a partner, and the infamous murder of a child by other children. In the following article he identifies recurrent concerns in his first three plays which he now sees as a working-out of his responses to a year which was crucial not only to his own personal narrative, but to others for whom the James Bulger murder epitomized all the worst aspects of a society that the Thatcherites claimed no longer to exist. Among Mark Ravenhill's more recent plays have been Mother Clap's Molly House, which transferred from the National Theatre to the Aldwych in 2002, and Totally Over You, written for the 2003 Shell Connections youth theatre season at the National. This article was first presented as the Marjorie Francis Lecture at Goldsmiths' College, University of London, on 5 May 2004.

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20

Saunders, Graham. "‘Out Vile Jelly’: Sarah Kane's ‘Blasted’ and Shakespeare's ‘King Lear’." New Theatre Quarterly 20, no. 1 (January 5, 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 Shakespeare's King Lear on her work and how elements of that tragedy were rewritten in terms of dialogue, recast thematically, and reworked in terms of theatrical image. He sees Blasted as both a response to contemporary reality and an engagement with the history of drama. Graham Saunders is Senior Lecturer in Theatre Studies at the University of the West of England, Bristol, and author of the first full-length study of Kane's work: ‘Love Me or Kill Me’: Sarah Kane and the Theatre of Extremes (Manchester University Press, 2002). An earlier version of this article was given as a paper at the ‘Crucible of Cultures: Anglophone Drama at the Dawn of a New Millennium’ conference in Brussels, May 2001. Saunders is currently working on articles about Samuel Beckett and Edward Bond.

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21

Tönnies, Merle. "William C. Boles (ed.). 2020. After In-Yer-Face Theatre: Remnants of a Theatrical Revolution. Cham: Palgrave Macmillan, xvi + 251 pp., € 96.29." Anglia 139, no. 2 (June 1, 2021): 455–59. http://dx.doi.org/10.1515/ang-2021-0034.

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22

Nikcevic, Sanja. "British Brutalism, the ‘New European Drama’, and the Role of the Director." New Theatre Quarterly 21, no. 3 (July 18, 2005): 255–72. http://dx.doi.org/10.1017/s0266464x05000151.

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The explosion of new theatre writing in Britain during and since the 'nineties contrasted with a dearth of original plays on continental Europe, east and west. Sanja Nikcevic attributes this in part to the dominance over the previous decades of the role of leading directors, who increasingly sought out raw materials to shape productions conforming to their own or their company's ideas. She traces the attempts in a number of countries to correct the imbalance by encouraging new writing through workshops and festivals—yet also how the explosion and importation of the British ‘in-yer-face’ style then affected the kind of new writing that was considered innovative and acceptable at such events. She argues against the claims made for the political significance of plays such as Sarah Kane's Blasted, suggesting rather that the acceptance of the normality of violence without reference to its social context negates the possibility of remedial action. A former Fulbright Scholar, Sanja Nikcevic is Head of the Department of English Literature at the University of Osijek, Croatia. Her full-length publications include The Subversive American Drama: Sympathy for Losers (1994), Affirmative American Drama: Long Live the Puritans (2003), and New European Drama: the Great Deception (2005). She was the founder and for eight years the president of the Croatian Centre of the International Theatre Institute.

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23

Beh, Emmerencia Sih. "Referencing and transformation in Sarah Kane’s Blasted." Journal of Languages, Linguistics and Literary Studies 1, no. 1 (September 20, 2021): 11–17. http://dx.doi.org/10.57040/jllls.v1i1.66.

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Sarah Kane’s Blasted, published in 1995, starts as a conventional familiar piece but progresses to dreadful cruelty and violence. This play was considered by most critics as an attention-pursuing adolescent play whose plot does not substantiate the extent and grade of violence the viewer/reader is required to sustain. The play was only taken seriously after the Royal Court Theatre did a premiere of it and it aggravated a serious explosion of hatred. The harsh critical responses of this play and two others published after it pushed Kane to publish her fourth play, Crave under a pseudonym, hoping to get a fair judgment and analysis. Sarah Kane’s body of work connects extensively to what Aleks Sierz calls in-yer-face theatre. Her use of referencing, transformational and experimental devices is an indicator that age is not, and shouldn’t be a barrier for literary creativity. As such, Kane’s plays should be taken seriously irrespective of the age at which they were written. The purpose of this article is to do an intertextual reading of Sarah Kane’s Blasted to assess how texts can be interrelated with one another. Incorporating the ideas, styles, texts, theories, and history of writers from Britain and other parts of the world to build up her ideas and style is one of the factors that make her plays interesting and worth reading. In its conclusion, the paper demonstrates that Kane’s first play, Blasted, was seriously influenced by history and the writings of Beckett, Artaud, and Baker.

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24

Sierz, Aleks. "William C. Boles, ed. After In-Yer-Face Theatre: Remnants of a Theatrical Revolution. London: Palgrave Macmillan, 2020, xvi + 251 pp., £79.99 (hardback), £63.99 (ebook)." Journal of Contemporary Drama in English 9, no. 2 (October 23, 2021): 369–73. http://dx.doi.org/10.1515/jcde-2021-0036.

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25

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 (June 20, 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 Blasted, Phaedra’s Love and Cleansed were centred principally on shock irritating violent and relatively hostile metaphors, the style of her two last plays Crave and 4.48 Psychosis shifts blatantly as they are written in a conspicuously poetic style. Her last play which is the focus of this study swings from conventional to unconventional style of writing given that she deviates from the classical presentation of drama. This study uses the theoretical backdrop of Postmodernism for its analysis. The paper demonstrates that analysing 4.48 Psychosis in connection to Kane’s life and death is restrictive and biased as it procures a plethora of innovative scopes.

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최영주. "The Experimental Narrative Strategies of the British 1990s' In-yer-face Theatre -Centering on Martin McDonagh's The Beauty Queen of Leenane, Mark Ravenhill's Shopping and Fucking, and Sarah Kane's Cleansed-." Journal of korean theatre studies association ll, no. 35 (August 2008): 249–306. http://dx.doi.org/10.18396/ktsa.2008..35.008.

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27

Almeshaal, Madhawy. "Giving Mirrors to Female Prisoners in Alice Birch’s [BLANK]." International Journal of Language and Literary Studies 3, no. 4 (December 5, 2021): 167–81. http://dx.doi.org/10.36892/ijlls.v3i4.766.

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The paper at hand attempts to interpret a contemporary British playwright’s theatrical artistic attempt to present a disturbing social issue and to suggest possible modes of help. In [BLANK], Alice Birch confronts the audience with the ugly cycle of women’s criminal conducts, female criminals’ offending and reoffending. The playwright employs the theater of the absurd as a theatrical medium through which she portrays the absurd reality of these female criminals and their families. To confront and shock the audience with the ugliness of these charterers’ reality, Birch uses In-Yer-Face theater. Birch suggests that the female criminal characters are victims who need proper psychological and medical rehabilitation services to break the ugly cycle of reoffending. The playwright implies a very challenging question for the audience: is it possible to break some patterns of some biological genetic behaviors? That is, can female criminals, in [BLANK], break away from their criminal behaviors that are biologically innate through the help of medicine and psychology not just through some practices of traditional stigmatizing forms of discipline and punishment in the justice system that are often proven to be unreliable means of constraint? By shocking and confronting society with the ugly reality of many female prisoners, in [BLANK], Birch is trying to give these pathetic female characters’ voices, mirrors, selves, forcing society to acknowledge them as human beings who have an essential role in society.

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28

Cox, Lara. "In-Yer-Face Mouths and Immobilisation: Parodies of Samuel Beckett’s Theatre by Sarah Kane." Polysèmes, no. 23 (June 30, 2020). http://dx.doi.org/10.4000/polysemes.7551.

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29

ЗАКАЛЮЖНИЙ, Л. "Modern theatre science paradigm and transformation of modes and genres in modern dramaturgy («In-yer-face theatre», «Pokolenie porno», «Новая драма»)." Humanitarian Education in Technical Universities, no. 32 (December 21, 2015). http://dx.doi.org/10.18372/2520-6818.32.9593.

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30

BAL, Mustafa, and Çağan FIRTINA. "Psychology of Belonging and Traumatised Soldiers in In-Yer-Face Theatre: Anthony Neilson’s Penetrator and Sarah Kane’s Blasted." Kültür ve İletişim, April 19, 2021. http://dx.doi.org/10.18691/kulturveiletisim.894880.

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31

ŞENOL, Gamze, Sena Nur YILDIRIM, and Samet GUVEN. "ACCIDENTAL (!) KILLINGS IN SARAH KANE’S PHAEDRA’S LOVE." Adıyaman Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, December 25, 2022. http://dx.doi.org/10.14520/adyusbd.1062688.

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Sarah Kane’s Phaedra’s Love can be described as a prominent play written in a chaotic time since it narrates the story of violence and power reflecting the dark background of society. She makes readers aware of social corruption through the in-yer-face theatre. It addresses the most primitive instinct of humanity (violence), to constitute an atmosphere in which the audience faces grim realities of life. Sarah Kane distinguishes herself from previous playwrights by presenting the realities. The writer also assigns significant roles to the characters to deal with problems they have, and they make their own choice by bringing about violence, committing suicide, and rape. From this angle, it is possible to analyse Phaedra’s Love from the Foucauldian approach concentrating on the relationship between violence and power. Therefore, this study aims to examine the concept of violence and power by applying the Foucauldian approach in Sarah Kane’s sensational play, Phaedra’s Love.

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32

"The Woman as "the Other" in Glaspell's Trifles, Hansberry's A Raisin in the Sun and Kane's Blasted." International Journal of Arabic-English Studies 20, no. 2 (July 3, 2020). http://dx.doi.org/10.33806/ijaes2000.20.2.9.

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According to de Beauvoir, gender roles in society are in binary opposition: men are "the One", the absolute and essential, while the women are "the Other", the accidental and inferior. This concept of Otherness is clearly present in various elements of modern plays written by female playwrights in the twentieth century. This notion has been traced back in Susan Glaspell's Trifles through the play's setting and atmosphere, as well as the characters' understanding of "justice". For A Raisin in the Sun by the African American playwright Lorraine Hansberry, women experience the inferiority of being both women and black. Sarah Kane's Blasted, being an example of In-Yer-Face theatre, depicts the emotional and physical abuse of women in (post-) war societies through its harsh and brutal visualization of different forms of violence. By comparing these three different plays, it appears that there is a tendency emerging towards universalism, the "Other" is the experience of all women, at all times which is evident as the selected plays belong to different cultures across the twentieth century.

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Pełka, Artur. "„Wer hat Angst vorm schwarzen Mann?“ Aggressivität und Gewalt im ‚neuen Dokumentartheater‘." Convivium. Germanistisches Jahrbuch Polen, December 30, 2010, 153–73. http://dx.doi.org/10.18778/2196-8403.2010.09.

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Abstract:

Aggression bzw. Gewalt gehören seit Beginn der Theaterkunst zu den dominierenden Motiven im dramatischen Diskurs. In den letzten Jahren nahm diese Tendenz, beeinflusst vom britischen ‚In-Yer-Face-Theater‘, zu und fand ihren besonderen Ausdruck im ‚neuen Dokumentardrama‘. Am Beispiel der Theatertexte Der Kick (2005) von Andres Veiel und Gesine Schmidt sowie Amoklauf mein Kinderspiel (2006) von Thomas Freyer, die spektakuläre brutale Gewalttaten dokumentieren, analysiert der vorliegende Beitrag zwei Strategien der Dramatisierung von Aggression und hebt die politisch-pädagogische Dimension des ‚neuen Dokumentardramas‘ hervor.

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