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NOBODY WANTS TO LISTEN TO SUCH STORY

100%
Galova D.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 4
609-615
EN
The authoress deals in her study with the issue of a reception of violence in the work of art of a cult author in-year-face Sarah Kane, especially in her play 'Blasted'. The English stages have not for approximately thirty years (since performance of Bond's Rescued) experienced such a turbulent response and not even a single play has become so widely discussed and polemic. Sarah Kane has introduced to the English stages a new theatrical language, full of pressure, violence and sexuality performed directly in front of the eyes of the audience. She has significantly roughed, bared and cleared the language of characters, and the psycho-realistic frame which she had created herself before, then subsequently broke. The critics were left only with offence and shock. The boundaries of what is acceptable on the stage have been significantly moved and through the drama 'Blasted' a new path of the theatre aesthetics has been opened. The new British drama is rough, explicit, brutal, typical for these authors is the language that is rough, abrupt, slang and vulgar, their characters are mainly from the so called the offscourings, meaning junkies, gays, deviants, musclemen, their space is a demolished street, public restrooms, or an anonymous hotel. Sarah Kane has introduced into life a new form of a dramatic text and thus has confirmed her inventiveness and stubborness. By breaking taboo of picturing violence Sarah has touched until an intact area of the spectator's perception.
2
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NEGATIVITA SPOLOČENSKEJ REALITY U SARAH KANE – MOC A NÁSILIE AKO FAKTORY DEŠTRUKTÍVNOSTI V DRÁME SPUSTOŠENÍ

100%
Brezňan P.
Slovenské divadlo (Slovak Theatre)
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2020
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vol. 68
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issue 1
76 - 90
EN
The core of the presented study is built around the structure and effects of the phenomena of power and violence, as portrayed and contemplated by Sarah Kane in her play Blasted (1995). The author of the presented study anchored his theoretical point of departure in examining power and violence, the latter being a tool for the enforcement of the former, in an analysis by Theodor W. Adorno and Max Horkheimer, who believe that power is the overriding principle of man’s relationship with his/ her outer reality. The first part of the study contemplates the structure of the phenomena of power and violence, as seen through the relationship between Ian and Cate, the play’s lead characters. Subsequently, the author focuses on their manifestation against the backdrop of a war catastrophe, which Sarah Kane allows to “barge in” the storyline. The conclusive part of the study attempts to highlight the appallingly devastating effects of power and violence, reaching their apex at a time of war.
3
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'LOVE ME OR KILL ME' - TRACES OF ARTAUD'S 'THEATER OF CRUELTY' IN SARAH KANE'S DRAMA 'CLEANSED'

100%
Galova D.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 3
398-403
EN
The author is investigating the influence of Artaud's 'Theater of Cruelty' in the creation of Sarah Kane. The drama 'Cleansed' is fulfilling Artaud´s vision on theatre whose aim is to lead a spectator towards a new authentic experience, understanding and self- recognition. The author is working with all symbols of cruelty. 'The audience is in fact searching in love, crime, drugs, war or uprising for a poetic status which is being transcended' - wrote Antonin Artaud, and the author states, that Sarah Kane in her play 'Cleansed' has approached this kind of perceived poetic status.
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