Abstract
Sarah Kane is one of the most significant playwrights
of the 1990s’ in-yer-face theatre. Kane, who believes in the power of theatre
in changing people’s lives, aims to shake the audiences’ senses not to remain
silent about the unpleasant events around them. In this sense, her Blasted is an achievement. The play
exemplifies all features of in-yer-face theatre. By examining Blasted, the study aims at indicating
how in-yer-face theatre makes the spectators face the things which are unsaid
and concealed. Through its filthy language, sexuality, violence, and atmosphere
constructed with catastrophic plots on the stage, the play violates a lot of
conventional theatrical features and breaks all taboos.
References
- Buse, Peter. (2001). Drama + Theory: Critical Approaches to Modern British Drama, Manchester University Press, Manchester and New York.
- Caruth, C. (1996). Unclaimed Experience: Trauma, Narrative and History, Johns Hopkins UP, Baltimore.
- Dictionary of Literary Biography: British and Irish Dramatists since World War II (2005), (Ed: John Bull), Thomson Gale, Detroit.
- Duggan, Patrick. (Autumn 2007). “Feeling Performance, Remembering Trauma”, Platform, 2/2, 44-58.
- Garner, S. B. (1994). Bodied Spaces: Phenomenology and Performance in Contemporary Drama, Cornell UP, New York.
- Kane, Sarah. (2001). Blasted. The Complete Plays, Methuen, London. 1-63. Malpede, K. (1996). “Teaching Witnessing: A Class Wakes to Genocide”, Theatre Topics, 6, 167-179.
- Pena, Laura Lopez. (2009). “Witnesses Inside/Outside the Stage: The Purpose of Representing Violence in Edward Bond’s Saved (1965) and Sarah Kane’s Blasted (1995)”, FOLIOS, 29, 111-118.
- Saunders, G. (2002). ‘Love me or Kill me’: Sarah Kane and the Theatre of Extremes, Manchester University Press, Manchester and New York.
- ---. (2004). “‘Out Vile Jelly’: Sarah Kane’s ‘Blasted’ & Shakespeare’s ‘King Lear.’” New Theatre Quarterly, 20/1, 69-77.
- Sierz, Aleks. (2001). In-Yer-Face Theatre: British Drama Today, Faber and Faber, London.
- Urban, Ken. (2001). “An Ethics of Catastrophe: The Theatre of Sarah Kane.” PAJ 69, 56-66. Retrieved Nov. 8, 2015. https://muse.jhu.edu.
Abstract
Sarah Kane, 1900’ların
yüzleştirmeci tiyatrosunun en önemli yazarlarından biridir. Tiyatronun
insanların hayatlarını değiştirmedeki gücüne inanan Kane, etraflarındaki hoş
olmayan olaylara sessiz kalmamaları için izleyicilerin hislerini sarsmayı
amaçlar. Bu anlamda, Blasted eseri
bir başarıdır. Oyun, yüzleştirmeci tiyatronun bütün niteliklerini
örneklerdirmektedir. Bu çalışma,
Blasted’ı inceleyerek, yüzleştirmeci
tiyatronun izleyicileri dile getirilmeyen ve gizlenen hadiselerle nasıl yüzleştirdiğini göstermeyi
amaçlar. Sahnedeki argo dil, cinsellik, şiddet ve felaket senaryolarıyla oluşturulan ortamıyla,
oyun birçok geleneksel tiyatro özelliklerini yıkarak bütün tabuları kırar.
References
- Buse, Peter. (2001). Drama + Theory: Critical Approaches to Modern British Drama, Manchester University Press, Manchester and New York.
- Caruth, C. (1996). Unclaimed Experience: Trauma, Narrative and History, Johns Hopkins UP, Baltimore.
- Dictionary of Literary Biography: British and Irish Dramatists since World War II (2005), (Ed: John Bull), Thomson Gale, Detroit.
- Duggan, Patrick. (Autumn 2007). “Feeling Performance, Remembering Trauma”, Platform, 2/2, 44-58.
- Garner, S. B. (1994). Bodied Spaces: Phenomenology and Performance in Contemporary Drama, Cornell UP, New York.
- Kane, Sarah. (2001). Blasted. The Complete Plays, Methuen, London. 1-63. Malpede, K. (1996). “Teaching Witnessing: A Class Wakes to Genocide”, Theatre Topics, 6, 167-179.
- Pena, Laura Lopez. (2009). “Witnesses Inside/Outside the Stage: The Purpose of Representing Violence in Edward Bond’s Saved (1965) and Sarah Kane’s Blasted (1995)”, FOLIOS, 29, 111-118.
- Saunders, G. (2002). ‘Love me or Kill me’: Sarah Kane and the Theatre of Extremes, Manchester University Press, Manchester and New York.
- ---. (2004). “‘Out Vile Jelly’: Sarah Kane’s ‘Blasted’ & Shakespeare’s ‘King Lear.’” New Theatre Quarterly, 20/1, 69-77.
- Sierz, Aleks. (2001). In-Yer-Face Theatre: British Drama Today, Faber and Faber, London.
- Urban, Ken. (2001). “An Ethics of Catastrophe: The Theatre of Sarah Kane.” PAJ 69, 56-66. Retrieved Nov. 8, 2015. https://muse.jhu.edu.
Details
| Primary Language | English |
|---|---|
| Subjects | Creative Arts and Writing |
| Journal Section | Articles |
| Authors | |
| Publication Date | April 26, 2019 |
| Acceptance Date | December 14, 2018 |
| Published in Issue | Year 2019 |