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Produktbeschreibungen
Pressestimmen
"Sarah Kane, a provocative playwright whose bleak view of the limitations of human relationships and graphic dramatizations of violence and sex earned her a reputation as an enfant terrible of the British theater..."Blasted" immediately established her as an important voice in modern playwriting."--"The New York Times" "Kane wrote simply and starkly about the world she saw around her...a mature and vividly theatrical response to the pain of living."--"Guardian " "Shocking and revelatory."--"New York Magazine" ("Blasted" review) "As compact and beautiful as a diamond in structure--and yet the mood it inspires is as black as coal."--"Time Out" ("4.48 Psychosis" review) "A hugely unnerving theatrical experience, shot through with the language of the Bible and a genuinesly poetic richness."--"Time Out" ("Crave" review) "The writing has an almost unparalleled distiled intensity which is often unbearable to watch...To some it will be repellent.Others will recognize it as absolute proof of the power of live theatre."--"Independent" ("Cleansed" review) "Pure theatre. Or rather, impure theatre: dirty, alarming, dangerous."--"Observer "("Phaedra's Love" review)
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Kurzbeschreibung
When Blasted was first produced at the Royal Court in 1995 it was hailed jointly as a masterpiece and a 'disgusting piece of filth' (Daily Mail). Subsequently that play, and the others that followed, have been produced all over the world. This anthology includes Kane's never-before-published Channel 4 screenplay, Skin. "Kane wrote simply and starkly about the world she saw around her...a mature and vividly theatrical response to the pain of living." Guardian
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Format:Taschenbuch|Von Amazon bestätigter Kauf
From an audience's point of view, it is a shame that Sarah Kane is dead. Each of her plays is a masterpiece exploring human emotion from various angles and filling apparently flat characters with a multitude of backgrounds.
'Blasted' links the micro- and macrocosms of violence, 'Phaedra's Love' shows the devestation of love in a world that barely allows emotion and 'Cleansed' deconstructs people's longings for one another by deconstructing the people themselves.
These plays could be grouped as Sarah Kane's Dramas of Disguising Disgust. She hides the impossibilities of emotion behind a layer of blatant violence like rape, castration and 'counter-castration' (Find that yourself in 'Cleansed'). Her short film 'Skin' also belongs to this category.
Even more interesting are her last two plays 'Crave' and '4.48 Psychosis'. Those plays belong to that rare kind of fiction that you read, do not understand, but feel urged to read over and over again. And unlike many other literary works you are sure to find something new every time you read them.
I cannot think of a play that has impressed me more than 'Crave', which has so many dimensions and so much truth and nevertheless (at least in my interpretation) hope.
I have heard that anyone who likes Samuel Beckett, Sylvia Plath or Jean-Paul Sartre will also like Sarah Kane. However, I think that anyone who needs outstanding literature in their lives will adore Sarah Kane and unfortunately we won't be able to read any more plays by her as she is shamefully dead.
Format:Taschenbuch
I bought this book for my English Literature course in uni, but I certainly won't sell it. Sarah Kane writes with a poignancy that, in my opinion, exceeds Samuel Beckett. In her plays, language is stripped down and exposed as an instrument of violence, a weapon of domination. Linguistic and material power mirror each other, and change according to the circumstances.
'Blasted' condenses global violence in one setting, showing that the fact that something doesn't happen in our house doesn't mean it DOESN'T HAPPEN. It may even happen next door. The play starts out with a rather disturbing dialogue between Ian and Cate, and quickly moves on to domestic violence, which disintegrates as the room is literally 'blasted' by a bomb. The images of the soldier raping Ian and the eating of the dead baby are certainly disturbing, but the emphasis often also lies on what isn't said, but can be inferred.
It slowly disintegrates into a series of images, language losing its power, until Ian's final "thank you" seems to restore some sense of order.
Another, even denser play specifically worth mentioning is '4.48 Psychosis', my personal favourite. There are no named actors, no scenes as such, no described setting. It is a series of monologues and dialogues (beautifully written!), which come to one highly emotional, desparate conclusion: suicide. There is no beautiful explanation, no sense of order, the audience is confronted and left with what it has witnessed.
Overall, it is not easy to describe Sarah Kane, but I would definitely recommend reading her plays, although it certainly isn't an easy read.
'Blasted' condenses global violence in one setting, showing that the fact that something doesn't happen in our house doesn't mean it DOESN'T HAPPEN. It may even happen next door. The play starts out with a rather disturbing dialogue between Ian and Cate, and quickly moves on to domestic violence, which disintegrates as the room is literally 'blasted' by a bomb. The images of the soldier raping Ian and the eating of the dead baby are certainly disturbing, but the emphasis often also lies on what isn't said, but can be inferred.
It slowly disintegrates into a series of images, language losing its power, until Ian's final "thank you" seems to restore some sense of order.
Another, even denser play specifically worth mentioning is '4.48 Psychosis', my personal favourite. There are no named actors, no scenes as such, no described setting. It is a series of monologues and dialogues (beautifully written!), which come to one highly emotional, desparate conclusion: suicide. There is no beautiful explanation, no sense of order, the audience is confronted and left with what it has witnessed.
Overall, it is not easy to describe Sarah Kane, but I would definitely recommend reading her plays, although it certainly isn't an easy read.
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A true poet of the theatre
23. Mai 2001
Format:Taschenbuch
Sarah Kane's plays present the horrors which characterize the world of the late 20th century. The plays contain scenes of incredible brutality. Ordinarily, I avoid violence in books, plays and films but these plays haunt me with the beauty of their generous humanity. Her last two plays--Crave and 4:48 Psychosis are beautiful poems of hopelessness. If you are interested in contemporary theatre, YOU MUST READ SARAH KANE. The story of her life and death, while unspeakably sad, should not overshadow the extraordinary talent of this gifted writer and remarkable human being.
8 von 8 Kunden fanden die folgende Rezension hilfreich
Traumatic, funny, devastating
31. Mai 2001
Format:Taschenbuch
These are the most electric scripts to arrive in a long while. Sadly, the source was snuffed in 1999. Kane's writing is at once repellent and seductive. "Blasted" is exceptional, riffing on Beckett blatantly, but still signature of a visionary voice: inyerface, exuberant, filthy, poetic, profound. As a debut, it is truly remarkable. "Phaedra's Love" and "Cleansed" push the envelope past the hyper-real into lightning-bright brilliance, and with thunderous emotional depth. How does one stage this stuff? Kane's challenging work sets the imagination--and ultimately, the soul--on fire.
10 von 12 Kunden fanden die folgende Rezension hilfreich
Not just Family Fun...
25. November 2003
Format:Taschenbuch
Sarah Kane is anything but family friendly. Her plays are raw, brutal, and yet beautiful in an ironic way. She takes all of the hate that exists in this world and uses it to show us the beauty that can come from the ruble of a blown up building. There is no way to actually describe Sarah Kane to you to make you want to buy her book. I was forced to buy it because of a class at my college, but I don't think I'll be selling this one back. I never thought I would enjoy a play such as Blasted. If you want to understand what my review actually means, buy the book, read a couple of her pieces and then read this again. I'm sure you will understand then.
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