Author(s): Ahmet Gökhan BÃER
Throughout her career Sarah Kane forces people to see the logic of public and private violence in a world of atrocities. Through a combination of form and content her theatre offers a radical theatrical experience of extreme violence. Kane’s plays often depict dimensions of violence, and organised cruelty. Physical, sexual, and verbal dimensions of violence depicted in Sarah Kane’s experiential theatre are real accounts of world brutality in general. In Blasted, Phaedra’s Love and Cleansed Kane depicts the physical dimensions of violence which contain scenes of rape, abuse, cannibalism, eye-gouging, torture, mutilation, annihilation, castration, addiction, madness, trauma, depression, and horror. Kane’s next plays deal specifically with the problem of violence which makes change impossible. In her last two plays, Crave and 4.48 Psychosis, Kane portrays the offstage representation of cruelty. She represents violence through language. Taking Sarah Kane’s experiential theatre as a main case this paper explores physical, sexual, and verbal dimensions of violence inherent in her plays.
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