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

By Jolene Armstrong

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 stream of the Nineteen Nineties. Kane’s performs have been infamous for his or her stunning productions and not easy and offensive subject material. This e-book analyzes her performs as items of an extended historical past of theatrical conference and experimentation, instead of development. I learn Kane’s performs via an optic of trauma idea, and hyperlink the trauma to postmodern event as outlined via battle, inter-personal violence, repetitive reminiscence, and intercourse as medium of violence. Kane’s performs’ unrelenting violence and photo depictions of violent intercourse recommend a courting with theories and practices equivalent 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 way of play research I finish that Kane’s paintings means that violence and trauma are endemic to postmodern existence, and are eventually apocalyptic as a result of their end result in Kane’s ultimate play, the suicide textual content of 4.48 Psychosis

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

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So, my dilemma was: do I abandon my play (even though I’d written one scene I thought was really good) in order to move onto a subject I thought was more pressing? Slowly, it occurred to me that the play I was writing was about this. It was about violence, about rape, and it was about these things happening between people who know each other and ostensibly love each other. htm>. At the time that Kane was finishing the play, Serbian forces under Slobodan Milosevic had been involved for at least a year in total war and campaigns of terror in Bosnia.

Because of Kane’s use of space as zones of pain, the play is a very particular postmodern expression of traumatized condition. Kane theorizes postmodern space as fragmented and violently indeterminate – aspects that in her body of work inherently constitute a postmodern condition predicated upon trauma. Questions have been raised about where, exactly, Blasted takes place, despite the script’s clarity, or rather claim, that it is Leeds. Part of the play’s postmodernity evokes doubt as to the usual reliability of even stage directions and setting.

Nevertheless, and despite the potential for the excitement of high tragedy to be enacted, Kane’s play enacts a representation of violence incessantly repeated until the audience ceases to care, or conversely is traumatized by the onslaught of graphic violence and portrayals of human degradation. The paradox of Kane’s statement about peacefulness and the brutal situation it describes recalls Linda Hutcheon’s reference to Anne Friedberg’s pronouncement of postmodern parody: “ ‘it was conservative politics, it was subversive politics, it was the return of tradition, it was the final revolt of tradition, it was the unmooring of patriarchy, it was the reassertion of patriarchy’” (Hutcheon Politics 13).

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