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Sarah
Kane more: performances 2005 |
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Sarah
Kane more: performances 2005 |
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Blasted in Norway (premiere) Blasted was on in Norwegian is at Den Nationale Scene, Bergen, Norway from 3-17 Dec 2005.
"Den middelaldrende tabloidjournalisten Ian, som er døende av lungekreft, inviterer en jente, Cate, inn på sitt hotellrom – fordi han trenger oppmuntring. Så snart de er innenfor døren begynner han å misbruke henne fysisk og psykisk. Plutselig stormer en soldat inn og rommet sprenges av en bombe. Det foregår med ett en krig, både rundt og i rommet. Cate flykter mens soldaten forteller Ian hvor jævlig krigen er. Soldaten voldtar og torturerer Ian før han dreper seg selv. Cate kommer tilbake med et spedbarn hun har fått av krigsofrene utenfor. Barnet dør og Ian forsøker å spise det. Til slutt forsøker Ian å gjemme seg under gulvplankene i rommet, mens Cate sitter blødende fra underlivet på sengen.". Site visitor Ingird writes "I went to see Blasted in Bergen, Norway, a couple of weeks ago, and I have never seen anything like it. The images and stomach-feelings keeps hanging inside you. Thorleif Linhave Bamle, the young director, is going to make his way I am sure. I was really impressed. And Sarah Kane makes it clear for me why the theatre is so unique".
Phaedra's Love in New York, USA One Year Lease presented three Phaedra's- Racine's version translated by Ted Hughes, Matthew Maguire's version and Kane's Phaedra's Love. The director was Ianthe Demos and the actors were Danny Bernady, Jim Kane, Christina Lind, Sussanna Melone and Gregory Waller. The plays were on from 29 Nov- 22 Dec 2005 in the Cherry Lane Alternative, New York. "...It is significant to note that there is a progression in the three shows if you look at them one after another, from Hughes to Maguire to Kane. You progress from Hughes' world where Phaedra's passion is not permissible under any circumstance to the Maguire text where she could act on her passion but it would inevitably mean her removal from power, to the Kane play where she is able to act out her desire (to some extent). In each adaptation, the destruction becomes more and more violent. The brutality escalates in the ‘trilogy’ as the power structure that Phaedra and the other characters exist in becomes more and more corrupt..." (interview from New York Theatre Voices here). "...For all the detachment- actors interact with each other as if they’re on different planes of existence- Phaedra’s Love is extremely affecting. Not the lines themselves, those are either sterilized by their monotonous deliveries or laughed at nervously. Not the characters either: they’re absent, and it’s hard to feel attached or invested. But the technical precision, the whole process of subtle expressionism . . . you’d have to be familiar with Phaedra (and thanks to Phaedra x3, you can) to understand that we are seeing everything through Phaedra’s maddened eyes..." (review from New Theatre Corps here).
Crave in France
Crave was presented at La Comédie de Saint-Etienne from 22-26 Nov 2006. It was directed by Philippe Zarch and the translation was by Evelyne Pieiller. The actors were Fabien Grenon, Valérie Larroque, Danielle Pasquier and Christian Scelles. "Dès la première image de Crave, nous sommes aspirés, comme si, trop proches du quai au passage du train, nous étions happés avec les personnages que nous découvrons peu à peu, dans le no man's land du plateau. Deux hommes et deux femmes parlent d'amour, tour à tour à eux-mêmes, aux autres, à celui qu'on voit dans l'autre, à celui qu'on a en tête, à ceux qui les écoutent… Un torrent d'impressions, un kaléidoscope de désirs, un chant d'amour, d'amour qui manque à en crever." Click on the image for more details.
4.48 Psychose, Austria
4.48 Psychosis in German was presented by STUTHE at dietheater Künstlerhaus in Vienna from 16-19 Nov 2005. The actors were Martin Thomas Pesl, Sophie Prusa (IrrSinnige/ lunatic), Sophie Zwölfer (IrrSinnige/ lunatic) and the director was Carina Riedl. "Psychopathologische Störungen (Essstörungen, Selbstverletzungen, Suchtverhalten usw.), Neurosen, Selbstmordgedanken und ausgeführter Suizid sind Phänomene, die mehr und mehr um sich greifen. Nach wie vor werden diese Probleme an den Rand des gesellschaftlichen Bewusstseins gedrängt, obwohl sie eine Dimension erreicht haben, die eine genaue und intensive Auseinandersetzung mit ihnen verlangen würde. Mit "4.48 Psychose" von Sarah Kane wollen wir die Verfasstheit einer Welt zeigen, der Orientierungshilfen wie Moral und Religion verloren gegangen sind. Von jedem Individuum wird verlangt, das es sich Identität selbst stiftet. In einer Zeit, die Selbstverantwortlichkeit über alles stellt, ist die Gefahr groß, Menschen in ihrem Scheitern allein zu lassen. Mit der Arbeit an ihrem letzten Stück, das posthum erschienen ist, möchten wir dem Glauben an ein unausrottbares Refugium der Hoffnung Ausdruck verleihen - das der Liebe. Denn der mit einem anderen geteilte Moment, die gemeinsame Erfahrung mit dem menschlichen Gegenüber sind das, was uns nachhaltig am Leben hält." Click on the image for more details. You can also download a trailer. Thanks to Patricia and Martin for the information.
Phaedra's Love at Bite Festival, London and Bristol
The Bite Festival at the Barbican, London had a season of works by "young geniuses". Sarah Kane was represented by Phaedra's Love alongside Christopher Marlowe, Robert Lepage, Wole Soyinka and others. Phaedra's Love was on from 16-26 Nov 2005. The director was Anne Tipton, the designer was Naomi Dawson, lighting was by Emma Chapman and sound by Gareth Fry and assistant director Alex Sims. It was co-produced by Bristol Old Vic, BITE:05, Barbican and the Young Vic. Before Phaedra's Love transferred to the BITE festival in London
it played in Bristol from 20 Oct to 5 Nov 2005. The actors were Laurence
Penry-Jones (Hippolytus), Diana Kent (Phaedra), Alexandra Moen (Strophe), Brian
Hickey (Doctor/Priest/Policeman 2), Dan Mullane (Theseus), Zara Ramm (Woman 1),
Stuart Crossman (Man 1), Craig Anthony (Policeman 1) plus Kate Mayne, Emily
Moore, Sophie Williams, Children: Jem Brownlee and Maria Montague.
"Diana Kent's Phaedra is as tense, lean and watchful as her would-be toy-boy is slack, bloated and vacant-eyed. "Wake up with it, burning me," she rasps, choking on love's annihilating power. Blending tragic emotion with the age of junk food, there's nothing disposable about the dialogue; every utterance moves the action forward and Anne Tipton's production - beautifully lit by Emma Chapman so that at one point the burning Phaedra disappears in a red haze - has a matching finesse" (Dominic Cavendish, Arts-telegraph 31 Oct 2005). "This hour long take on Seneca is a devastating piece of work that pulls few punches. The despairing Phaedra (Diana Kent) pours her soul out for Hippolytus (Laurence Penry-Jones) in a powerfully, ferocious display of lust, longing and loss of self only to be driven to suicide by his rejection. Their world has no hope, no relationship that means anything, even language has become bankrupt. Anne Tipton’s production in the Studio places spectator in a shared space with the actors for an intense and often disturbing deconstruction of emotions. There is a moment of beauty as Phaedra’s funeral pyre consumes her, a short pause before a finale of graphic horror and extreme violence which has given Kane, perhaps an unfair reputation. Yes, the images shock and the language is strong, yet within this play there is an analysis of longing, loneliness, emptiness and ultimate despair" (Stewart McGill, Reviewsgate 4 Nov 2005) "...in a line that shows Kane's underrated gift for comedy, a doctor tells Phaedra that "there's nothing wrong with him medically, he's just very unpleasant...But the production could do with a more Jacobean sense of theatrics. If anything, Anne Tipton's pared-down production needs to be more revoltingly bloody, more poetically searing. In Kane's gruesome world, you can't stint on the ketchup" (Robert Gore-Langton in The Independent, 4 Nov 2005). "...after a confident start Anne Tipton's production, with its messily choreographed mob scenes, goes to pieces. It gives us the sense of a festering royal family, but captures little of the play's agonised mortality. The acting is as frustratingly patchy as Kane's script. Brian Hickey's Doctor wastes his blackly funny lines, Alexandra Moen's Strophe is as weirdly fake as a shop mannequin, and it's mildly silly when Dan Mullane's Theseus starts to tear his hair out. Phaedra's Love should eviscerate you: here it just grosses you out" (thewebloge, 18 Nov 2005, here)
4.48 Psychosis in Chicago
The Steppenwolf Visiting Company Initiative presenteded 4.48
Psychosis at In the Garage Theatre. It was on from 10 Nov- 23 Dec 2005. The director
was Sean Graney and the actors Stacy Stoltz, Halena Kays, Jennifer Grace,
Samantha Gleisten, Mechelle Moe and John Byrnes. Click on the image for more details. "The intensity of the show is tangible and overwhelming, amplified by the action happening on every side of the viewer. The lights and sound of the production create a surreal world populated by phantoms dressed in sadistic blue Victorian-era dresses with mutilated baby dolls suspended over their heads, from metal poles lodged in the backs of their corsets. It is terrifying and disturbing, more and more so as the play approaches a startling degree of involvement. Because of this, two rest periods are included, which are small moments that are not part of the play - they are designed simply to give the audience a chance to breathe. It is a testament to the depth of "Psychosis 4.48" that these rests are always a relief, a much needed chance to step out of the insanity, check yourself over and prepare once again to experience madness on a very personal level" (Joe Donegan in The Phoenix, 7 Dec 2005). "Director Graney offers something larger in size. His six-actor staging is environmental and fluid. At the beginning of "4.48 Psychosis" the audience is seated in a U-shaped pattern surrounding a tented stage area. At the designated moment you pass through the vinyl tentlike flaps to the inner sanctum. On one side of the inner space a blood-red bedroom catches your eye: A man (John Byrnes) lies asleep, while the woman in crisis (Stacy Stoltz) crouches on the floor. On the other side of the stage, in a sickly-yellow doctor's office, actress Mechelle Moe perches over a computer keyboard beneath her diplomas. In between sits a pristine white bathroom. Here, Stoltz—who pours her heart into this exhausting role—revisits over and over the notion of suicide by pills, by razor, by hanging. Graney adds a chorus of weird sisters, specters of doom dressed as punk Marie Antoinettes, played by Halena Kays, Jennifer Grace and Samantha Gleisten. They're chilling, although the staging piles on near the end, just when it would be better off going for calm, cold intimacy. At one point, underscoring the self-inflicting word "punch," the three spooks physically brutalize the suicidal woman." (Michael Philips in Metromix here).
4.48 Psychose in USA, Canada, Germany, Luxembourg and Italy
Isabelle Huppert continued her successful world tour of the French 4.48 Psychosis. Directed by Claude Régy and the actors were Isabelle Huppert and Gérard Watkins. The translation was by Evelyne Pieiller. Site visitor Julie (thanks Julie) says "It was extremely minimalist, Huppert remained immobile throughout the entire two-hour performance. It was quite remarkable, really. Her feet did not move once, she did not shift her weight, or bend her knees, a single time. Her arms were at her sides, hands in fists, and they rarely moved. Occasionally, she would point a finger toward the floor, usually when someone in the audience coughed (if someone on the left side of the theater coughed, she'd make that tiny gesture with her left hand, and vice versa for the right). She recited the text in a very deliberate monotone, sometimes slowing it down (as when she was "conversing" with the only other actor in the play--Gérard Watkins--who remained behind the semi-transparent screen); sometimes speeding it up. She shouted a few select lines (during the angry with God passage). Her eyes seemed to tear up a couple of times. Between scenes, short audio clips by Jeff Buckley and Joy Division were played. I asked Huppert about the music (I met her at a luncheon last week) and she said it had been chosen by the director, Claude Régy." The dates were:
Cleansed in London and discussion
The Oxford Stage Company presented Cleansed at the Arcola Theatre, London. The director was Sean Holmes and the actors were Sean Gallagher (Rod), Toby Dantzic (Carl), Graig Gazey, Polly Frame, Lisa Diveney, Paul Brennan and Garry Collins. It was on from 2 Nov- 3 Dec 2005. Click on the image for more details. The photo is by Tristram Kenton. "...he even forces a retarded chap... to consume, one by one, an entire box of chocolates. That scene alone - punishing to watch - shows that however close to parody events get, Kane had a macabre sense of humour that could anticipate and outwit charges of gratuitousness. The script may be full of barren, broken phrases, but the images and the thoughts that underpin them are lush in their ghoulishness. While it's easy to be over-reverent towards Kane since her suicide in 1999, this revival reminds you that none in her generation could touch her for theatrical moments that burn the roof of your - wide agape - mouth off." (Dominic Cavendish, Arts Telegraph, 10 Nov 2005).
Crave in Cambridge, UK
Cambridge University Amateur Dramatic Club presented Crave on 25 Oct 2005 at adc theatre, Cambridge, UK. The cast were Will Featherstone (A), Ben Reizenstein (B), Rebecca Pitt (C), Sarah Brocklehurst (M). The director was Shantelle David, producer Olivia Humphreys, stage manager Hannah Mabbutt, assistant stage manager Clemence Gallimard, costume designer Jenny Commin, lighting designer Patrick Harty, James Robinson, publicity manager Mike Morley, set designer Sarah Barnett, sound designer Austin Anderson, assistant director Osheen Jones and technical director Lizzie Fellowes- Freeman. "The minimal set design added to the already disturbed atmosphere on the stage with broken chairs strewn all over the stage. The clever lighting was also used sparingly to full effect with subtle changes used only where necessary." (Homerton Union of Students Herald 2). Click to Shantelle for the photo.
Crave in Chicago, USA
The Chicago premiere of Crave was by The Side Project. It was directed by Stephen Cone and the cast were Elizabeth Hipwell, Sadie Rogers, Will Schutz and John Wilson. The press preview was on 23 Oct 2005 and it ran from 27 Oct to 4 Dec 2005. Click on the image for more details. Thanks to Elizabeth and Adam for the information. "The show opens to an empty stage with four chairs. Each cast member slowly enters the stage, pausing at the doorway to stare right through the audience for what seem like an eternity.. After doing a paranoid check of the stage, each inmate sat down and stared in silence. This process took 10 minutes or so. The nonverbal movements and gestures suggested a group of psychotics. Once the talking started it was a machine gun like repetitious babble in a weird sort of disjointed rhythm together with chair throwing, groping, shouting, screaming in anger outbursts, filled with bewilderment and frustration... My question is this: who is the audience for this incoherent babble? Why was it written? And why produce this dreadful work?" (Tom Williams in ChicagoCritic). "Schultz and Rogers are the plays stand-out perfromances because of their ability to make the audience feel as if Kane wrote this dialogue with them in mind. In the end, "Crave" isn't about having a fun night at the theater, and it's not about leaving the audience with questions. In fact, it barely asks a question itself, which may perhaps be the one thing lacking in the production. It is presented at such a rapid speed that the audience barely has time to digest any of the performance and not enough time is spent on deciphering the play's message. As it is, the audience must create its own questions and come to its own conclusions. And if Kane's writing sheds any light on her perception of theater, that will lead to a fun night in and of itself." (Ira Madison, The Phoenix, 7 Dec 2005 )
Phaidras Liebe (Phaedra's Love) in Germany
Phaidras Liebe was presented in at Schauspielhaus Bochum. The director was Lisa Nielebock, the actors included Manuela Alphons (Phaidra) and Benno Ifland (Theseus). The premiere was 23 Oct 2005. "Und so nimmt sich Mama Phaidra (Manuela Alphons) das Leben und klagt den verzogenen Spross der Vergewaltigung an. Als Papa Theseus (Benno Ifland) endlich nach Hause kommt, findet er nur noch Ruinen seiner Königsfamilie. 1996 schilderte die amerikanische Dramatikerin Sarah Kane die Unmöglichkeit der Liebe, indem sie das antike Drama mit drastischen, modernen Worten erzählt und in extreme Bilder übersetzt. Lisa Nielebrock macht daraus im Theater unter Tage eine gelungene Geschichtsstunde, die in einer knappen Stunde eine (antike) Tragödie vermittelt, auf die die Sensationspresse auch heute scharf wäre."
4.48 Psychose in Magdeburg, Germany
4.48 Psychose was performed in German at the Theater Magdeburg between 24 Sept and 2 Dec 2005. The director was Lukas Langhoff. The actors were Melanie Straub, Iris Albrecht and Jon-Kaare Koppe. "Das Stück ist eine Reise durch eine zersplitterte Seele. Mit Präzision, Poesie, bitterem Witz, schonungsloser Konsequenz und sprachlichem Furor dringt es ein in die seelischen Abgründe unserer Existenz. Es ist das Dokument einer extremen psychischen Krise und zugleich ein dramatisches Gedicht. Unterschiedliche Textbruchstücke sind darin hart aneinandergesetzt: tagebuchartige Zustandsbeschreibungen, nüchterne Auflistungen von Psychopharmaka, wütende Anklagereden gegen die deprimierende Einrichtung dieser Welt und gegen das eigene Ich, Beschwörungen der Liebe, Gesprächsfetzen zwischen Patient und behandelnden Ärzten, eruptive Wortkaskaden. Auch wenn sich immer wieder ein trotziges Bekenntnis zum Leben und die Sehnsucht nach Liebe artikuliert – der Text ist Ausdruck einer Krankheit zum Tode. Der Panzer der Einsamkeit ist so mächtig und die Traurigkeit des Herzens so schwer, daß der Weg in den selbstgewählten Tod unausweichlich zu werden scheint. 4.48 Uhr ist jene Zeit zwischen Nacht und Morgen, in der der Kopf von Dämonen heimgesucht wird und zugleich am klarsten ist. »Ein Moment von Klarheit vor der ewigen Nacht." Click on the image for more details. Thanks to Carsten for the information.
4.48 Psychosis in The Netherlands and Belgium
The one-woman Dutch Psychosis toured of the Netherlands and Belgium. Olivier Provily directs and the actress is Nanette Edens. The translation is by Marcel Otten. 4.48 Psychosis played in The Netherlands and Belgium between 24 Mar and 20 Apr 2005. It was revived between 30 Sept and 29 Oct. "In de toneelliteratuur is 4.48 Psychose te beschouwen als
een afsluiting van de 20e eeuw. De traditionele dramatische vorm is afgebroken
en enkel de taal resteert als bron van het drama. Daarbij lossen de barrières
tussen werkelijkheid en verbeelding op, waarmee Kane de vraag stelt wat
werkelijkheid is en wat fictie. "4.48 Psychose is een roep vanuit de diepte van een ziel. Aan het woord is een vrouw die het geweld en het lijden van de hele samenleving op zich heeft genomen. Via krachtige taalbeelden confronteert zij de toeschouwer met haar persoonlijke relaas over de hunkering naar liefde en haar gevecht tegen de hedendaagse vervreemding. Haar behoefte om te protesteren tegen de liefdeloosheid van de moderne westerse samenleving is in elk woord voelbaar. Haar gemis aan liefde heeft ingrijpende gevolgen." Thanks to Nanette for the information. Clink on the links for more details. You can also see a section of the play via the site. "Gisteravond naar een voorstelling... geweest in Frascati. Een monoloog door Nanette Edens, prachtig ingetogen gespeeld en zorgvuldig geregisseerd door Olivier Provily... 4.48 Psychose is een erg donkere tekst, als van een slang die haar eigen staart eet. Een depressie waarin de schrijfster gevangen zit in haar eigen uitzichtloze ronddraaiende gedachten. In het programmablaadje staat de opmerking dat dit een schreeuw om liefde is, een opstand tegen liefdeloosheid, een duistere spiegel die ons voorgehouden wordt. Ik ben het met die opmerking niet eens. Ik denk dat degene die deze observatie maakt zelf geen ervaring heeft in de omgang met iemand die suïcidaal depressief is." (femmefatale in web forum here). Crave in Seattle, USA Crave was presented by Washington Ensemble Theatre at the Little Theater, Seattle. It was directed by Roger Benington, Matthew Echert was stage manager. The cast were Mikano Fukaya (C), Marya Sea Kaminski (M), Mark Kuntz (A), Lathrop Walker (B). The costume designer was Heidi Ganser, sound designer Matt Starritt, lighting design Jessica Trundy and scenic design Jennifer Zeyl. It was on from 9 Sept to 3 Oct 2005.
4.48 Psychosis in Maidenhead, UK
The Completely Cuckoo Theatre Company performed 4.48 Psychosis at Norden Farm, Maidenhead, It was on from 9-12 Jun 2005. The director and cast were all drama students from Henley College. Click on the image for more details.
Blasted in Brazil The Brazilian version of Blasted opened in Jul 2004. It was translated to Brazilian Portuguese by Laerte Mello. The director was Marco Antonio Rodrigues, set designer was Ulysses Cohn, and it was produced by 3 de Sangue Cia. de Teatro and Joana Mattei. The cast included Laerte Mello (Ian) and Joana Mattei (Cate).
4.48 Psychosis in Essex, UK
4.48 Psychosis was on from 15-17 Jun 2005 at The Lakeside Theatre, University of Essex. It was by the Theatre Arts Society, directed by Thomas Edwards. Click on the image for more details.
4.48 Psychosis premiere in Bulgaria
Gier (Crave) in Germany Gier (Crave) was presented at the Bayerisches Staatsschauspiel München. The director was Tina Lanik, translation was by Marius von Mayenburg and the actors were Marina Galic, Barbara Melzl, Felix Klare and Siemen Rühaak. Staging was by Magdalena Gut, costumes by Su Sigmund and music by Rainer Jörissen. It was performed from 3 Jun- 28 Nov 2005.
4.48 Psychosis in Philadelphia, USA
Theater Catalyst presented the Philadelphia premiere
4.48 Psychosis. It was directed by Shannon O'Donnell and featured Kristyn Chouiniere, Stacey Wylie and Amanda Schoonover. Lighting
design was by John Hoey, choreography by Jennifer Schoonover and the
stage manager was Tim Martin. "Amanda Schoonover gives a brilliant, high-risk, very disciplined performance as the central figure, the "I" who can articulate both her longing for happiness and the absurdity of being able to understand what is wrong with her yet be helpless to fix it. We watch the failure of love and of therapy ("there's not a drug on earth can make life meaningful") to hold her back from the inevitable conclusion. Stacey Wylie, in a white slip, plays a kind of feminine principle — the lover, the mother, the nurturer — who is also an aspect of the central character. Kristyn Chouiniere plays a kind of masculine principle — the doctor, the fighter — who is another aspect of the central character. All three women perform the expressionistic choreography (created by Jen Schoonover) with grace and strength. Christopher Colucci's haunting, often charming music creates an aural, internal world." (Toby Zinman on CityPaperNet 14-20 Apr 2005)
Blasted in Greece
Blasted was presented in Thessaloniki, Greece on 14-15 Apr 2005 as part of a student festival. It was the first performed of Blasted in Greek. Translation was by Athina Paraponiari, the director was Spyros Gkelis, the actors were Dimitris Koureas (Ian), Antigone Fryda (Kate) and Spyros Gkelis (Soldier). Original music was by Elika. Thanks to Dimitris for the information.
All five plays in Berlin, Germany All five plays were performed as part of a symposium at
the Schaubühne theatre in Berlin: Alle fünf Stücke Sarah Kanes werden im März an der Schaubühne zu sehen sein. Während des Festivals zeigen wir „Zerbombt“ (R.: Thomas Ostermeier), dessen Premiere am 16. März F.I.N.D. 5 eröffnen wird, „Gesäubert“ (R.: Benedict Andrews) und „Gier“ (R.: Thomas Ostermeier). Darüber hinaus veranstalten wir während des Festivals ein Symposium, das dem Werk von Sarah Kane gewidmet ist. In verschiedenen Gesprächsrunden diskutieren Regisseure, Bühnenbildner, Schauspieler, Theaterleiter und Kritiker aus England, Australien und Deutschland über ihre Erfahrungen mit den Stücken der erfolgreichsten britischen Autorin der 90er Jahre. Thanks to Jana for the information.
Anéantis (Blasted) in Paris
Blasted was in Paris in Sains Denis from 18 Mar- 17 Apr 2005. Mise en scène et scénographie Daniel Jeanneteau, collaboration artistique et lumière Marie-Christine Soma, assistante à la mise en scène Aurélia Guillet, costumes Ann Williams, son Yves Coméliau, régie générale Damiano Gatto. The actors were Stéphanie Schwartzbrod (Cate), Gérard Watkins (Ian), Gaël Baron (Le Soldat).
"J'ai été stupéfaite de ces clameurs d'épouvante qui ont éclaté à propos de mes pièces, parce qu'en fin de compte il ne s'agit pas de brutalité ou de cruauté. Elles sont là, sans plus, quand on écrit et qu'en dépit de toute la violence qui existe, on veut continuer d'aimer et d'espérer". Ainsi parlait, d'or, Sarah Kane, qui mit fin à ses jours en 1999, au terme d'une lutte incessante contre la souffrance mentale et l'état du monde. Daniel Jeanneteau, sur le point de mettre en scène Anéantis, pièce terrible qui fait apparaître, ainsi qu'elle le disait, "un lien direct entre la violence domestique en Angleterre et la guerre civile dans l'ancienne Yougoslavie", estime qu'il est temps, aujourd'hui, de voir en Sarah Kane "un être visionnaire, frappé de lucidité et généreux". Thanks to Nadege for the information. Click on the image for more details.
Blasted in Germany
The Schaubühne am Lehniner Platz in Berlin presented Blasted from 16-22 Mar 2005. The actors are Ulrich Mühe (Ian), Katharina Schüttler (Cate), Thomas Thieme (soldat). Deutsch von Nils Tabert, regie: Thomas Ostermeier, Bühne Jan Pappelbaum, Kostüme Almut Eppinger, Musik Malte Beckenbach, Dramaturgie Marius von Mayenburg, Licht Urs Schönebaum. "Der Journalist Ian und Cate, eine junge Frau, betreten ein luxuriöses Hotelzimmer in Leeds. Ihre Beziehung ist seit langem beendet, aber Ian begehrt Cate noch immer. Doch sie weist ihn ab. Sie ist aus Mitleid mit dem todkranken Ian mitgegangen. Ian, der eine Pistole bei sich trägt, fühlt sich verfolgt, kontrolliert Türen und Fenster und schreckt bei jedem Geräusch auf. Er bedroht und demütigt Cate und vergewaltigt sie in der Nacht. Am Morgen kann sie unbemerkt durch das Badezimmerfenster entkommen. Es stellt sich heraus, dass Ians Paranoia nicht unbegründet ist, denn tatsächlich dringt ein Soldat ins Hotelzimmer ein. Draußen herrscht Krieg, der mit seiner ganzen Brutalität und zerstörerischen Kraft in das Zimmer und in das Leben von Ian hereinbricht." Click on the image for more details.
4.48 Psychosis and Crave in Prague The National Theatre in Prague presented Psychosis 4,48 as part of it's regular repertory since March 2003 and it continued to be performed through 2005. Also in Prague, the Rubin Theatre presented Crave from Jan 2005. Thanks to Anna for the information.
Blasted (爆風, 폭풍) in Korea
Théâtre Années Folles Production presented Blasted in the INA Theatre, Seoul. The actors were Yuji Nagano, Hiromi Saotome and Ttesu Hirahara. It was on from 3-6 Mar 2005. Click on the image for more details.
4.48 Psychosis in Italy
4.48 Psychosis was performed in Italy by Giovanna Mezzogiorno: "I wanted to go back on stage and I wanted to do something that would push my skills to the limits… I've always considered the theatre as being more difficult than cinema, something that is more extreme… My aim was to once again have the sensation of fear, of curiosity, that only something new can give you. And for me to return on stage after nine years means doing something new". The director was Piero Maccarinelli. Translation was by Gian Maria Cervo, soundtrack by Martux- M and visual architecture by DDG Crew. Click on the image for more details.
Phaedra's Love in Italy
After an entire body of work dedicated to Sarah Kane’s writing, started in 1999 with the Dark Age Project - a series of studies on the mythological figure of Ariadne - the Accademia degli Artefatti decided to work directly with Kane’s text. The immediate and only possible choice for the Accademia is to work on the figure of Phaedra. ... I sense it’s about a fire. A fire with no way out, with no open
doors; it stays inside, it fills its room. It swells the body of the
actor. It only finds little gaps, thin apertures through which you glimpse
the consistency of its color... I perceive an underground energy, as an
earthquake, a never-ending rhythm in the background, onto which words lie,
shaping the lyrics of a song played on an scratchy gramophone... I feel an
ineptitude of adhesion, as a non-coincidence, as the story is known;
dragging itself on as a burden, trapping and forcing all it can find,
creating an adjacent environment, in which you can stay. At the edges of
the room, in the calligraphy and into the non-sense of the writing, into
the intersections of the pauses.
Crave in Kansas City Cinnamon Eye Productions presented Crave at the Westport Coffee House. |
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