Blasted: Staging War’s Brutality and the Tropes of Dehumanization
Article Sidebar
Main Article Content
Abstract
The issue of distinguishing between authentic and simulated distress in theatrical performances has garnered attention from various practitioners in the twentieth century. One prominent figure in this discourse is Antonin Artaud, who advocated for a novel form of theatre, namely Theater of Cruelty, that would stimulate and challenge spectators to re-evaluate the events unfolding before them on the stage. In parallel to this context, Sarah Kane’s career in theatre has defined itself by such Artaudian novelty. Sara Kane’s Blasted fosters the brutality of war through the symbolic representation of violence, sexual abuse and cannibalism. This research argues that Kane’s Blasted is an imitation of life—a matter that makes reality a more conscious reproduction enhancing the cathartic shock of the spectator.
Metrics
Article Details
This work is licensed under a Creative Commons Attribution 4.0 International License.
References
Artaud, A. (2010). The theatre and its double. London House.
Armstrong, J. L. (2003). Postmodernism and trauma: Four/fore plays of Sarah Kane . Ph.D., University of Alberta (Canada).
Blankenship, Mark.(10,Feb.2008). "It's Not Just Cruel; It's Unusual, Too." New York Times.
Blankenship, Mark. "It's Not Just Cruel; It's Unusual, Too." New York Times .p.10. 39 steps .( 10 Feb. 2008).
Buford, Bill (1991), Among the Thugs. London: Arrow.
Gallese, V., & Sinigaglia, C. (2011). What is so special about embodied simulation? Trends in Cognitive Sciences 15(11), 512-519. https://doi.org/10.1016/j.tics. 2011.09.003.
Leach, R. (2004). Makers of Modern Theatre: An introduction. Routledge.
Lopez, Laura (2009). Witness Inside /Outside the Stage.The Purpose of Representaning Violence in Edward Bond's Saved(1995) and Sarah Kane's Blasted (1995). University of Barcelona. En3650@wanadoo.es.
Kane.(1995). Blasted. The Royal Court Theatre Upstairs, London.
Lehmann, H.-T. (2006). Postdramatic Theatre. Routledge.
Langridge, Natasha, and Stephenson, Heidi (1997). Rage and Reason: Women Playwrights on Playwriting. London: Methuen. 131.
Biswas Siddhartha (2017). Theatre Theory and Performance: A Critical Interrogation, Cambridge Scholars Publishing.p:18.
Solga, Kim.(2007). “Blasted’s Hysterics: Rape, Realism, and the Thresholds of the Visible.” Modern Drama, V. 50 issue 3, pp. 346-374.
Kane, (1995), Blasted ,?The royal Court theatre upstairs, London.
Pena, Laura Lopez. “Witnesses Inside/Outside the Stage: The Purpose of Representing Violence in Edward Bond’s Saved (1965) and Sarah Kane’s Blasted (1995).” Folios 29 (2009): 111–18.
Reynolds, D. (2012). Kinesthetic empathy and the dance’s body: From emotion to affect. Kinesthetic empathy in creative and cultural practices (D. Reynolds & M. Reason. Eds.) Intellect. 121-136.
Saunders, G. (2002). ‘Love me or Kill me’: Sarah Kane and the Theatre of Extremes, Manchester University Press, Manchester and New York.
Saunders, Graham.(2002). 'Love Me or Kill Me': Sarah Kane and the Theatre of Extreme. Manchester: Manchester University Press.
Sellar, Tom (1996), ‘Truth and Dare: Sarah Kane’s Blasted ’. Theater,27 (1), 29–34.
Sierz, Aleks.(2000). In-Yer-Face Theater: British Drama Today. London: Faber and Faber.
Solga, Kim.(2007). “Blasted’s Hysterics: Rape, Realism, and the Thresholds of the Visible.” Modern Drama, V. 50 issue 3, p. 346-374.
Turanjanin ,V. (2013).Youth and Hooliganism at Sports Events ,Organisation for Security and Co-operation in Europe, Mission to Serbia.
Tyson, Lois.(2006). Critical Theory Today: A User-Friendly Guide. 2 nd edition. New York: Routledge.
Urban, Ken.(2001), “An Ethics of Catastrophe: The Theatre of Sarah Kane.” PAJ: A Journal of Performance and Art. 23.3 : 36-46.
Iball, H. (2008). Sarah Kane’s blasted. Continuum International Publishing Group.
no. 2, 2004, pp. 139-171.
Singer, Annabelle. “Don't Want to Be This: The Elusive Sarah Kane.” TDR (1988- ), vol. 48, no. 2, 2004, pp. 139-171.
Tylor, P. (1995). THEATRE / courting disaster. Independent .
Tyson, L. (1999). Chapter 2: Psychoanalytic Criticism. In Critical Theory Today: A User-Friendly Guide. New York and London: Garland Publishing, Inc.
Urban, Ken (2001), ‘An Ethics of Catastrophe: The Theatre of 27 (1), 29–34.