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Complete Plays: Blasted/Phaedra's Love/Cleansed/Crave/4.48 Psychosis/Skin (Anglais) Broché – 29 mars 2001

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Format: Broché
Les textes de Sarah kane laissent transparaître tous les tourments d'une âme en décomposition. Un texte d'une rare spontanéité et d'une rare beauté.
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Amazon.com: 4.6 étoiles sur 5 20 commentaires
5.0 étoiles sur 5 Desolate, Forlorn, Hopeful 25 juin 2009
Par Kevin L. Nenstiel - Publié sur Amazon.com
Format: Broché Achat vérifié
For a long time, Sarah Kane's name was almost a curse word, but this is manifestly unfair. Her work is challenging, poetic, austere, and can threaten people who want theatre to be simple, cheerful entertainment. But for audiences who want their art to speak to the truth of our human situation, Sarah Kane was one of the bright lights of late 20th Century theatre.

The five plays and one screenplay comprising Kane's corpus chart a remarkable arc out of the "real" world to a stunning, surrealistic landscape. Her first three plays could be called realistic, but not naturalistic. They mix social commentary, secular spirituality, stunning brutality, and dream imagery to create a tenor too real for the real world.

In the introduction to this volume, David Grieg says that Kane cast off her parents' evangelical faith in her teens. It's easy to see that in these plays. She needs absolutes in the world, but she can no longer turn to God. Ordinary human violence leaves us bleak and forlorn. And yet, particularly in "Blasted" and "Cleansed," moments of hope inevitably poke through.

Her later plays change their tone. Though she still lives in a desolate, godless world, her style is more mature, even as it turns more inward and personal. "Crave," her last play produced during her life, dramatizes her private thoughts to provide one of the most nuanced introspections in recent theatre. And "4.48 Psychosis," based on Kane's stays in mental institutions, is so personal that it wholly dispenses with character attribution, stage direction, and other conventions.

"Skin," the script for a ten-minute TV film, is primarily a curiosity. It takes up some themes and dream icons from Kane's plays, but it reads poorly. It's thick with camera directions and narrative that get between her and the reader. The film is on the internet; Google it and compare the finished product to the script, as an oddity, if you must.

Sarah Kane's suicide, clearly at a time when her best work was not yet past, leaves a major hole in the theatre world. But this hole still hasn't been recognized in America. Her debut play, "Blasted," didn't get its New York premiere until the fall of 2008, fifteen years after its London premiere and nearly ten years after Kane's death.

It's downright sad that Kane's entire body of work can fit in such a slim volume. But the fact that her work survived its initial assaults to be recognized as contemporary classics gives me hope. The trajectory she began needs to be continued, because the needs and gaps she realized still live in the heart of world theatre today.
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5.0 étoiles sur 5 Still my favorite playwright; may always be my favorite playwright. 10 novembre 2013
Par Brittany - Publié sur Amazon.com
Format: Broché Achat vérifié
A great way to thrust yourself into the world of 'In-Yer-Face-Theatre'. Whenever I read one of her plays, I find myself almost forced to read it to the very end as if pausing the pain, even for a day, could cause me even more trauma. Once finished, I usually cry or sit in awe of what I've just experienced. I then completely divorce myself from the crude acts that took place for months at a time merely to return to the same story that I allowed myself to forget in order to continue functioning. And the cycle begins again. I have read that Mark Ravenhill is also in Kane's ranks if you find yourself in need for more from this genres.
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Dramatics 12 janvier 2007
Par Jonathan O. May - Publié sur Amazon.com
Format: Broché Achat vérifié
Sarah Kane's collected plays represent an underestimated force in theater. Much like the work of Elfriede Jelinek or Ntozake Shange, Kane takes a private pain (losing oneself in another or testing the limits of proclaimed love) and creates a verbal landscape that the audience must inhabit, either by force of shock or noble acceptance of empathy. In either case, her plays must be reckoned with upon finishing. I think perhaps the most intriguing and powerful to me was 4.48 Psychosis, her final and posthumously performed play. There are no defined characters because who cannot claim a piece within the multitude of confessions that the play really unfolds as. Brutally honest and intentionally confrontational, this play, above the others, embodies the last possible moments of hope in anyone's life. Kane's characters rarely make the choice to latch on to these moments, but they are there and cannot be ignored.
3.0 étoiles sur 5 An interesting thought experiment--Does it fail? 17 septembre 2012
Par ALAINA HAMMOND - Publié sur Amazon.com
Format: Broché Achat vérifié
Sarah Kane's plays are crass, bleak, bland, not lyrical and certainly not beautiful, neither philosophical nor reflective. She's a reactionary. She's visceral. She's base in the truest sense, like blood, or a seizure, not quite an orgasm. There's no ecstasy in her world.

You might not respect her...and maybe you shouldn't. Maybe she doesn't want you to.

But read her, anyway. If only to find fault with her attempts. Pick her apart.

She's nothing if not an engaging read.

In fact, she may in fact be--in the nihilist sense of the word--nothing.

...Read her anyway.
5.0 étoiles sur 5 Sarah kane's plays 6 mai 2010
Par Julio Delgado Gonzalez - Publié sur Amazon.com
Format: Broché Achat vérifié
Amazing plays. There's no translation of them all into spanish, so this is a great chance to te get acces to them. Wished this kind of editions would last longer in my country, but at least there's an opportunity to buy them in England. Sarah Kane is one of the names you must know to understand what's happening in the scene. Her words are fists thrown to your face like bridges to the reality of the characters, most of the times strange, twisted and distant from ourselves. She pushes you into her world roughly, with no mercy, as the characters have none either.
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