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Galova D.

Slovenské divadlo (Slovak Theatre)

2006

vol. 54

issue 4

609-615

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.

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1 Slovenské divadlo (Slovak Theatre)

1 2006

1 Galova D.

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NOBODY WANTS TO LISTEN TO SUCH STORY