In this paper, Sarah Kane's debut play "Blasted", alongside her proximate plays "Phaedra's Love" and "Cleansed", will be discussed in order to explore the nature of the plays concerning their subject matter.
Among these plays, "Phaedra's Love" is the only one that is based on a model and therefore not utterly Kane's content. The story is written loosely after Seneca's version of the Phaedra myth, in which a tragedy arises because the title character falls in love with her royal stepson. Beyond the thematic discussion, the question whether the subjects Sarah Kane connects her plays with are presented in a positive or negative way will be issued in the paper. If there is love in the plays, in how far is it satisfying for the characters? And does strong faith really promise a hopeful ending?
In order to answer these questions, the paper is divided into two parts, starting with a short theory chapter, that follows this introduction and provides a brief introduction to in-yer-face theatre in general. Subsequently, one finds the main part of the paper, which consists of three sub-chapters and includes the analysis of each of the named plays. A conclusion of the findings will round the paper off.
Table of Contents
- 1 Introduction
- 2 Theory of Kane's In-Yer-Face-Theatre Plays
- 3 Love, Hope and Faith in Kane's Plays
- 3.1 Blasted - Kane's most hopeful play?
- 3.2 Phaedra's Love - Can Faith Move Mountains?
- 3.3 Cleansed - Love, the strongest force on earth?
- 4 Conclusion
Objectives and Key Themes
This paper aims to explore the presence and nature of love, hope, and faith within the context of Sarah Kane's "in-yer-face" theatre. It analyzes three of Kane's plays – Blasted, Phaedra's Love, and Cleansed – to determine how these seemingly contradictory themes are presented and interwoven within the violent and shocking landscapes of her work. The paper investigates whether these themes are presented positively or negatively and examines the extent to which they offer satisfaction or resolution for the characters.
- The representation of love, hope, and faith in Sarah Kane's plays.
- The paradoxical juxtaposition of violent imagery with themes of love, hope, and faith.
- The ambiguous nature of these themes and their impact on the characters.
- The relationship between Kane's "in-yer-face" style and the emotional core of her plays.
- An examination of whether the presented themes are ultimately positive or negative.
Chapter Summaries
1 Introduction: This introductory chapter sets the stage for the paper by outlining its central focus: the exploration of love, hope, and faith within the seemingly contradictory context of Sarah Kane's violent and shocking "in-yer-face" theatre. It introduces the plays to be analyzed – Blasted, Phaedra's Love, and Cleansed – and highlights the central question: how can themes of violation and loneliness coexist with love, hope, and faith within such a dramatic setting? The chapter establishes the methodology, outlining a structure that begins with a theoretical overview of "in-yer-face" theatre and subsequently delves into a detailed analysis of each play. It frames the analysis around the question of whether these themes are presented positively or negatively and explores whether they offer any sense of satisfaction or resolution to the characters.
2 Theory of Kane's In-Yer-Face-Theatre Plays: This chapter provides a theoretical framework for understanding the plays within the context of the "in-yer-face" theatre movement. It positions Sarah Kane among the leading figures of this movement alongside Mark Ravenhill and Anthony Neilson, highlighting the genre's origins in experimental theatre and its characteristic use of shocking imagery, direct language, and the avoidance of conventional dramatic structures. The chapter draws upon the work of Aleks Sierz and Antonin Artaud to define the movement's core principles, emphasizing its aim to provoke a visceral response from the audience rather than passive consumption. The connection between Artaud's "Theatre of Cruelty" and the raw, confrontational nature of "in-yer-face" theatre is explored, illustrating the deliberate use of shocking content to achieve active engagement from the spectator.
3 Love, Hope and Faith in Kane's Plays: This chapter serves as an introduction to the main body of the paper, analyzing the presence and presentation of love, hope, and faith within the three chosen plays. It directly addresses Sarah Kane's own assessment of her work, where she identified "hope (Blasted), faith (Phaedra's Love), and love (Cleansed)" as central themes. The chapter sets the stage for a nuanced exploration of these themes, acknowledging their ambiguous and multifaceted nature and preparing the reader for the detailed analysis of each play in subsequent sub-chapters.
Keywords
Sarah Kane, in-yer-face theatre, Blasted, Phaedra's Love, Cleansed, love, hope, faith, violence, experimental theatre, ambiguity, shock, British drama, themes, analysis.
Sarah Kane's Plays: Love, Hope, and Faith in In-Yer-Face Theatre - FAQ
What is the main topic of this paper?
This paper explores the presence and nature of love, hope, and faith in Sarah Kane's "in-yer-face" theatre, focusing on three of her plays: Blasted, Phaedra's Love, and Cleansed. It analyzes how these themes are presented within the violent and shocking context of her work and whether they offer positive or negative portrayals and resolutions for the characters.
Which plays by Sarah Kane are analyzed?
The paper analyzes three of Sarah Kane's plays: Blasted, Phaedra's Love, and Cleansed. Each play is examined in detail to understand how the themes of love, hope, and faith are depicted within their respective narratives.
What are the key themes explored in the paper?
The key themes are love, hope, and faith, particularly as they are presented in contrast to the violence and shocking imagery characteristic of Kane's "in-yer-face" style. The paper also explores the paradoxical juxtaposition of these seemingly contradictory themes and their ambiguous nature.
What is the methodology used in the analysis?
The paper begins with a theoretical overview of "in-yer-face" theatre, situating Kane's work within the movement. It then proceeds to a detailed analysis of each play, examining the representation of love, hope, and faith, and whether these themes are ultimately presented positively or negatively, and if they offer any sense of resolution or satisfaction for the characters.
How does the paper define "in-yer-face" theatre?
The paper defines "in-yer-face" theatre by drawing upon the work of theorists like Aleks Sierz and relating it to Antonin Artaud's "Theatre of Cruelty." It highlights the genre's use of shocking imagery, direct language, unconventional structures, and its aim to provoke a visceral response from the audience.
What is the significance of Sarah Kane's own assessment of her work?
Sarah Kane herself identified "hope (Blasted), faith (Phaedra's Love), and love (Cleansed)" as central themes in her plays. This assessment is used as a starting point for the analysis, acknowledging the multifaceted and ambiguous nature of these themes.
What are the key questions addressed in the paper?
The paper seeks to answer questions such as: How are love, hope, and faith represented in Kane's plays? How do these themes coexist with violence and shocking imagery? Are these themes presented positively or negatively? Do they offer any sense of satisfaction or resolution to the characters? What is the relationship between Kane's style and the emotional core of her plays?
What is the structure of the paper?
The paper is structured into four chapters: an introduction, a theoretical overview of "in-yer-face" theatre, an analysis of love, hope, and faith in Kane's plays (broken down further into analyses of individual plays), and a conclusion.
What are the keywords associated with this paper?
Key words include: Sarah Kane, in-yer-face theatre, Blasted, Phaedra's Love, Cleansed, love, hope, faith, violence, experimental theatre, ambiguity, shock, British drama, themes, analysis.
- Quote paper
- BA Nicole Eismann (Author), 2015, "Blasted", "Phaedra's Love" and "Cleansed". Reading Love, Faith and Hope in Sarah Kane's Plays, Munich, GRIN Verlag, https://www.grin.com/document/319156
