Author(s): Ahmet G繹khan BER

After her unexpected death in 1999 there have been scholarly and theatrical interests in Kaneian drama. In this process Sarah Kane’s texts have been performed all over the world. Many articles, books and book chapters have been published about her texts which handle the issues such as violence, trauma, depression, repression, torture, madness, death, love, and apocalypse in the light of Artaudian, Bondian, Beckettian, Pinteresque readings and her experiential theatre. But there is one crucial point missing: Kane’s theatre is totally a postdramatic one as Hans-Thies Lehmann characterizes. The aim of this paper is to discuss postdramatic theatricality of Sarah Kane’s Blasted, Cleansed and Crave.


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