![]() ![]() On the page, Crave can appear nigh-on impenetrable four unnamed characters, all of whom seem to constantly switch both character and stylistic form, in a near narrative-free text. This is not the usual stance for the director of a show, granted, but the truth is not so very far from the flippant. Whenever anyone has asked me what 'Crave' is about I have, perhaps flippantly, replied that I don't really know. After her death her plays have continued to be performed widely across Europe and to be cited as influential by many other writers. Although her later works 'Crave' and '4.48 Psychosis' were different in style they had a similarly strong impact. Her third play 'Cleansed' was staged two years later. ![]() Like 'Blasted' it was dark in tone and featured graphic scenes of violence, and its production was highly contentious. Her next play, 'Phaedra's Love', is a modern reworking of the myth of Phaedra's doomed love for her stepson Hippolytus, and was first performed in 1996. It became hugely controversial, with its scenes of dark, violent brutality and cruelty leading to attacks by critics and more widely by sections of the press. Sarah Kane's first play 'Blasted', opened at the Royal Court Theatre Upstairs in 1995. For many years she battled with severe depression and at the age of 28 she committed suicide. As well as writing, she directed other's work, and she also worked hard to encourage other writers in their work. Through an intersectionally feminist reading of three of her plays-Blasted, Crave, and 4.48 Psychosis-this thesis examines the connection between the rejection of normative disability tropes (or madness, more specifically) and the challenging construction of theatrical form that takes place within each of these Kane plays.AuthorSarah Kane Sarah Kane (1971 - 1999)Īs a teenager, Sarah Kane was a committed Christian, but after her degree in drama at Bristol University and MA at Birmingham in Playwriting, she rejected these beliefs. While critics have been quick to identify madness as a main theme of her work, few have connected each play’s complex construction of madness with a struggle to complicate existing theatrical form. However, Kane’s plays have also arguably challenged many existing theatrical forms, including the late twentieth century resurgence of “Angry Young Men” plays. Sarah Kane has often been categorized as an “In-Yer-Face” playwright, part of a group of contemporary British playwrights interested in making audiences feel the outcome of violence. "Utterly Unknowable": Challenges to Overcoming Madness in Sarah Kane's Blasted, Crave, and 4.48 Psychosis ![]()
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