Cruel Britannia: Sarah Kane's Postmodern Traumatics - download pdf or read online

By Jolene Armstrong

ISBN-10: 3034315651

ISBN-13: 9783034315654

ISBN-10: 3035107769

ISBN-13: 9783035107760

Cruel Britannia: Sarah Kane’s Postmodern Traumatics examines 4 performs through British playwright Sarah Kane (1971-1999), all written among 1995 and 1999 in the context of the «Cool Britannia», or «In-Yer-Face» London theatre move of the Nineties. Kane’s performs have been infamous for his or her stunning productions and hard and offensive material. This booklet analyzes her performs as items of an extended heritage of theatrical conference and experimentation, instead of pattern. I learn Kane’s performs via an optic of trauma conception, and hyperlink the trauma to postmodern event as outlined via struggle, inter-personal violence, repetitive reminiscence, and intercourse as medium of violence. Kane’s performs’ unrelenting violence and photo depictions of violent intercourse recommend a dating with theories and practices akin to Artaud’s theatre of cruelty, and Kroker and Cook’s thought of the postmodern as signal of excremental tradition and an inherently abject country of being. via a play by means of play research I finish that Kane’s paintings means that violence and trauma are endemic to postmodern existence, and are finally apocalyptic because of their end result in Kane’s ultimate play, the suicide textual content of 4.48 Psychosis

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Extra info for Cruel Britannia: Sarah Kane's Postmodern Traumatics

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52  intentionally left the details of her play’s provenance vague in order to unsettle, to disturb: it could be anywhere. Kane’s attempt to stage the horrors of war is postmodern in other ways. Critics lambasted Kane for her “deeply serious attempt” to portray the horrors of war, but failed to grasp that the aesthetics of the play instead suggest a simulacrum of a microcosm of war, “for which no original has ever existed” (Jameson 321), and is in fact artistically self-conscious rather than sanctimonious about its existence as play.

41 If the two common uses are taken together, blasted can be understood to signify the destruction of dreams, hopes, happiness and even love, damned as they all are in such a desperate existence. They are both impossible, because easily destroyed and condemnable as impossible ideals that do not, indeed can not, belong to the common person. Blasted initiates theatre audiences to Kane’s concept of the postmodern condition as an essentially violent, possibly random, yet possibly causal, and consequently traumatic experience.

6 Bond’s “early work,” most significantly, was completely committed to “exposing a system [,] corruption and insanity of a world founded on capitalism” (Hirst 4). He was “an artist committed to changing society in advocating the abolition of social and economic privilege” (2). Bond’s first fully produced and staged play, Saved, unsettled audiences and the media, presumably because it was an exposé of a class of English society that would be unfamiliar to the privileged audience watching it. Through audience discomfort, the play asks the audience to relate their own socially privileged values, particularly as cultural consumers 6 44  I see Kane as a part of the socially active British theatrical history, and while I read her work as continuing an agenda initiated by writers such as Bond, Brenton, Barker, Beckett, and Pinter, I am not sure that Kane would have shared Bond’s socialist viewpoint.

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Cruel Britannia: Sarah Kane's Postmodern Traumatics by Jolene Armstrong

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