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The results
so far are:
The favourite Sarah Kane
plays |
The least liked Sarah Kane
plays |
4.48
Psychosis |
Phaedra's
Love |
Crave |
Cleansed |
Cleansed |
Crave |
Blasted |
|
Crave and Phaedra's Love are
regularly voted best play by some people, and
worst play by others.
The best scenes
- the dream about
the doctor giving her eight minutes to
live, after she'd been waiting for half
an hour in the waiting room (from 4.48
Psychosis)
-
the separate and related
stories from Crave
- Cate's role in
Blasted
- the line in
Cleansed 'Love me or Kill me Graham'
- most of 4.48
Psychosis
- the final images
of Blasted
- the end of
Blasted
- that Graham has
to kill the gayman, in order to make him
stop loving his companion
- A's monologue in
Crave, about all the things he wants to
do with/re his lover. The most beautiful
love monologue ever
- the end of
Phaedra's Love
- it is myself I
have never met, whose face is pasted on
the underside of my mind....please open
the curtains (4:48 Psychosis)
- the interaction
between Hippolytus and Phaedra when she
first tells him she loves him
-
doctor this and doctor that
who was just passing and thought he would
pop in and take the piss as well (4.48
Psychosis)
- A´s monologue
in Crave
- Strophe
and Phaedra scene
- the scene in
4.48 Psychosis when she becomes the fault
of all the disaster in the world
- a dotted line on
the throat/ Cut here (4.48 Psychosis)
- the use of the
dead soldier for comfort by Ian in
Blasted
- Rod's "I
love you now. I'm with you now..."
speech in Cleansed
- Phaedra's Love -
when H. is tender to S. (his
step-sister); his only tender moment.
What a stark change from the rest of the
play. For those who don't like Phaedra's
Love you really must read it for its
cynicism; its commentary on the brute
eroticism of violent sex
- in Cleansed when
Robin is forced to eat the chocolates,
and when Grace wakes up after her
operation. But these are not
"favourites." They are not
likeable. They are crystallised
nightmares that happen to be reflections
of experiences in reality
- having just
performed 4:48 Psychosis, I would have to
say that the 'f**k you, f**k you' scene
is one of my faves!
- the end of 4.48
as the curtains were opened--pure shock
- soldier cries
whilst raping Ian (royal court
production) shows his humanity through
his brutality (Blasted)
- when Cate sucks
Ian's cock (Blasted)
- "Sometimes
I turn around and catch the smell of you
and I cannot go on I cannot f**king go on
without expressing this terrible so
f**king awful physical aching f**king
longing I have for you. And I cannot
believe that I can feel this for you and
you feel nothing. Do you feel
nothing?" 4.48 Psychosis
- Carl (Cleansed)
- the whole of
4.48 Psychosis
- the last scene
in Blasted
- take an
overdose, slit my wrists, then hang
myself. / ... / it couldn't possibly be
misconstrued as a cry for help
- the soldier's
rape of Ian in Blasted. Then he lists far
worse atrocities he's seen/done. He tells
Ian "so don't get tragic about your
arse"
- when she wakes
up and says "sleep with a dog and
rise full of fleas"
- the conclusion
of Cleansed - An excellent and extremely
useful site
-
the first scene in
Blasted, which is a really funny &
also disturbing portrait of a
dysfunctional relationship, laced with a
deadly humour reminiscent of Alf Garnett.
Kane was very very funny at times (which
most people don't recognise)
- A's monologue in
Crave
- I am fascinated
by the grotesque images of Cleansed, the
mixture of violence and tenderness. For
example the beating of Grace and the
following daffodils growing up from the
floor. Or Carl being amputated still
claiming his love to Rod
- the love
monologue in Crave
- everyone's said
it, but A's monologue about his lover in
Cleansed. Stunning and very beautiful
- the final scene
in Blasted
- the dissecting
in Cleansed
- when Cate
performs oral sex to Ian while he's
confessing he's a killer (Blasted)
- the monologue
from Crave
- the beginning of
4.48
- all of 4:48
psychosis
-
the scene (Crave) where one
of the four repeats again and again
"what have they done to me"
(that is, in Dutch, don't know the
original English). Second best: where one
says: this...is real. Really real. You
know. Real. Look. Real
- all of Blasted
- have you made
any plans. Take an overdose, slash my
wrists and hang myself. All those things
together? It couldn't possibly be
misconstrued as a cry for help.
-
Crave is about
unreciprocated love--- "a voice in
the desert", a vain cry smashed to
bits and pieces of distorted meanings---
a hopeless clinging to life. Death is
therefore the only release
- last scene of
Cleansed, with Grace, now looking exactly
like Graham holding on to Carl's stump
- the end of 4.48
Psychosis
- the recitation
of prescriptions and medications in 4.48
Psychosis. Illustrates the gulf between
the hard chemistry of treatment and the
intangible pain of depression
- the whole of
4.48 Psychosis, especially the medical
notes, so scary it's almost funny
- "I have a
bad bad feeling about this bad bad
feeling!" A line in Crave
- the whole of
Crave really...it's the only one I've
read so far
-
all of the speeches
performed by Jo McInnes at the Royal
Court's production of 4:48 Psychosis,
particularly the f*ck speech. (You know
the one I mean)
- all of 4.48
Psychosis, A's monologue in Crave, the
line about the will at the start of Crave
- 4.48 psychosis
-of course I love you, you saved my life,
I wish you hadn't bit
- the A monologue
in Crave --- it's an open wound ---
please open the curtains
- the love
monologue in Crave
- I don't think I
have a best scene or best play, but it's
more the nature of the work that I like.
A very very cold eye
- always thought
that the world didn' t smell fresh paint
and flowers (Phaedra' s Love)
- the castration
of Hippolytus in Phaedra
- the "F*ck
You" monologue from 4.48 Psychosis
is awesome. I recently performed it at a
poetry slam and got applause for
it...people cheered...it was one of the
best feelings of my life. Everything
about that play, actually. But that
monologue in particular was great. And
Cleansed. Mustn't forget Cleansed.
Everything about Cleansed too
- Ask. Me. Why.
(4.48 Psychosis)
-
scene, don't know; the
picture "The scream of a
daffodil" (Crave)
- Crave: Yes No
Yes Yes No Yes... ... Aargh!... Ogcth!
Argtch!... ...
- end of Act 1 of
Blasted
- Ian's rape scene
in Blasted
- every single
thing about Cleansed is powerful and
cathartic and frightening. It is the most
awesome piece of writing I have ever
encountered. And the final lines in 4.48
Psychosis
- if you don't
like Plath, why bother to write it?
Surely this is a waste of your time
- the outpouring
of love in Crave. Kane has managed to put
together a train of thought monologue
that all at once makes you realise that
love isn't just a warm and fuzzy feeling,
but a complete dedication to someone that
makes you think of nothing but that
- in Cleansed, Rod
tells Carl that he can only promise to
love him right now, right there. He can
promise nothing more, but ultimately it
is his love that lasts
- the opening of
4.48 Psychosis - the scene after
Phaedra's death
- Hippolytus and
Phaedra scene four
- Favourite line
is at the end of Phaedra's Love: "If
only there could have been more moments
like this". Favourite stage
direction from Cleansed. "Tinker
cuts Karl's hands off, Karl tries to pick
them up, he can't, he doesn't have any
hands"
- all of Crave
- I dread the loss
of her I've never touched, love keeps me
a slave in a cage of tears [...] I can
fill my time, fill my space, but nothing
can fill this void in my heart, the vital
need for which I would die.
breakdown
- considering
there are no stage directions or scene
titles I believe I can count 4:48
psychosis as one long scene and as
the best ever played out in the human
mind
- A's monologue in
Crave
- the long silence
as the solder in Blasted eats two
English breakfasts while Ian looks on. I
love Kane's willingness to take an
uncomfortable pause
- (Only seen 4:48
Psychosis) It's so pure that one will
stain it just by looking at it... she
goes to the one absolute, the central
point of choices, where everything comes
down to nothing. Then she states the
infinite variance between the extremes
used by the society... Black snow...
bringing down the shame on society
itself, the mostly unspoken rules that
are written in every individual's mind.
Seeing things as black and white provides
us with simplicity and quickness of
decision but it also has a price that
grows every step as we go on, because
reality is in reality bouncing between
two voids
- anything to do
with M in Crave
- all of Crave
- A's speech - I'm
currently doing it as part of my A level
exam and I've had to research into it.
It's a beautifully written piece of
theatre - absolute magic!
- all of 4.48
Psychosis
-
the slow changing of the
role of Cate as victim to then finish
with Cate as the survivor
- the scene in
which Hippolytus (Phaedra's Love)
realises that Phaedra really did love him
- "This is her present to me".
From this point on Hippolytus is a
changed man. Phaedra's love/death
is the ultimate gift: a self-sacrifice
(perhaps akin to Kane's) which re-awakens
the human in others
- now that I've
found you I can stop looking for myself
line (Crave)
- the end of 4:48
psychosis: a window open to a white...
what?
- for my first
production on school I have taken Blasted
(scene 4 and 5) It is a very good play,
but hard to produce. Especially the
mise en scene is difficult. I want
something extreme but it can't be
disgusting. In Sarah's words "HELP
ME!!"
- when Rob says in
Cleansed that he wants to die not
his lover
- in Crave
the really long sentence which is the
most beautiful declaration of love
- the end scene
between Tinker and the Woman in Cleansed
- I like the last
scene in Blasted. Surprisingly I
found it very uplifting. "Thank
You!"
- "The Splash
of her smile" (4:48 Psychosis)
- scene 8 of Phaedra's
Love
- A's love speech
(Crave)
- A's speech in Crave,
the final images of Blasted, the
sunflowers of Cleansed
- it's in Cleansed:
There are two gays. One of them always
promises to do everything for the other
one, even die. The other one doesn't
promise anything, but in the end dies for
his love, while he has given into his
weakness
- for me 4.48
Psychosis is better read as a poem
without an actor's contrived emotion
making the words sound false. Actors
cannot portray the desperation and
hopelessness this play promotes. Also it
is beautifully written
- 4.48
Psychosis when the doctor gives out
the reaction the character has to the
medication
- Askim... askim
neden beni yüz üstü biraktin?
- the final scene
of Phaedra's love
- I think the most
thrilling is a scream "for
love" in 4.48 Psychosis.
She's crying to public, that they can't
decide "is it real? no, it's JUST a
play". they can't help her.../a
freaKa
- A's monologue in
Crave- the most profound love
declaration I have ever read
- the soldier
crying whilst raping Ian in Blasted;
Humanity and Brutality
- the character of
Tinker in Cleansed, and especially
when he makes love to the peep show
dancer. I love how Kane shows that
torture brutalizes the torturer as well
as the tortured, and that she gives
Tinker the same capacity for redemption -
for "cleansing" - through love
that she gives everyone else in the play
- A´s love
monologue, because I cried the first time
I read it (Crave)
- life is too long
(Phaedra's Love)
-
love monologue in Crave,
the part about god and suicide in Blasted
- Carl's silent
scream in Cleansed following the
genital switching. That scream is louder
than any voice could carry out. It
represents the culmination of so much
pain on the part of not only Carl, but of
everyone in the play
- the whole of Crave.
Its musicality and rhythmical text. No
troupe will ever do her pieces justice,
no matter how well they stage them
- when Ian is
masturbating himself in the end of Blasted
-
A's
monologue about love in Crave
- all of 4:48,
the scene with the first line
being...Body and soul can never be
married
- Dr This and Dr
That (4.48 Psychosis)
- I have read Blasted
and I love it because it is so abstract.
Love the whole play! Reading 4.48
Psychosis at the mo and what I from
what I have read its great!
- the
words from Cleansed: Love me or
kill me
- all are great
- where Ian in Blasted
becomes victim himself to the soldier,
rather than him himself turning Cate into
the victim
- 'Dr this and Dr
that and dr whatsit who's just passing
and thought he would pop in to take the
piss as well.' 4.48 psychosis This
scene is amazing, it is so full of truth
and what she sees through her eyes
- the dream about
doctor giving her 8 minutes to live after
she'd been waiting for half an hour in
the fucking waiting room (4.48
Psychosis)
- the love
monologue in Crave
- the moment when the
daffodil grows. I can feel it growing
into my belly
- the "Died.
Burnt. Lump of charred meat stripped of
its flesh" monologue in Cleansed.
Pure emotion
- a dream about
doctor giving her 8 minutes of life after
she had been waiting over half an hour in
a waiting room (4.48 Psychosis).
The Love Monologue in Crave
-
I
think her earlier work is much better,
and I don't like her work after Phaedra's
Love
- scene four,
Phaedra's Love. the tension, and release,
the unbearable truth that she can't make
Hippolytus love her. The almost rape like
quality of making her swallow
- she is talking
about herself in the third person because
the idea of being who she is, of
acknowledging that she is herself is more
than her pride can take
- A's speech at
the beginning of Crave
- bit in Crave
that goes "I crave white on white
and black, but my thoughts race in
glorious Technicolor prodding me awake,
whipping away the warm blanket of
invisibility every time it swears to
smother my mind in nothing."
- the interaction
between Tinker and the lap dancer in Cleansed
- in 4.48
Psychosis - I need my friends to be
sane says the Psychiatrist - who does she
think she is!! Ironic
- all the scenes
between Cate and Ian (Blasted)
- 4.48
Psychosis - The scene where the
Psychiatrist isn't listening to the woman
- s/he is unable to see past the text
book answer and listen to the real reason
that makes the woman need/want/be able to
cut herself. The Psychiatrist is as full
of contradictions as the world today, but
at the same time s/he isn't emotionless.
It's a very human reaction
- Crave- when all
of the voices are bouncing off each other
saying each line meaningful. Also in 4.48
the bit where she is saying doctor
this and doctor that. also where she
snaps SHAME SHAME SHAME DROWN IN YOUR OWN
F#####G SHAME
- 4.48
psychosis- I have no desire for
death. No suicide ever had. watch me
vanish...watch me vanish...
- the telling of
C's rape in Crave, and 4.48's
doctors monologues
- Phaedra's
Love when he realises he's raped his
own daughter. Its raw emotion...its real
- Personally, I
read the whole of 4.48 Psychosis
as one whole long continuous and at the
same time wonderfully disjointed scene.
Every page reminded me of something to do
with my own personal experiences with the
Psychiatric services and the battle
between the external social world and the
internal world in my head when despair
creeps in. The endless list of medication
is great because it is so tragically
funny precisely because it's so brutally
honest and true. It wasn't until I read
this play that I realized just how many
different types of medication they had
put me on over the years, when really all
I wanted to do was be able to express
myself freely. Copies of this play should
be left in every Psychiatric hospital in
the world, so that every isolated patient
and doctor can look in from the outside
and focus on something more than the four
walls they find themselves in. Perhaps
one day a group of in-patients (if they
haven't done so all ready), might perform
this piece! If anyone could portray the
humour within Kane's work, they certainly
could. I don't know what Sarah Kane would
feel about this however...I would like to
think it would make her feel good that
more than just the average play-goer was
getting to grips with her work
- Tinker and the
lap dancer is so compassionate in Cleansed.
The irony of the sour milk and the
Spanish student waiting for his dinner
and the tragicness of the small girl
washed up on the beach and the small dark
girl with her grandfather in Crave
- the death of
Hippolytus in Phaedra's Love -
brutal
- all of 4.48
Psychosis
- all of it but
most of all the Dr This and Dr That scene
- surely the best
line in any of her work is:
"the chicken's still dancing the
chicken won't stop" (4.48
Psychosis). suitably random
suitably poignant suitably perfect
strangely coherent
- the end scene of
4.48 Psychosis
- the short
snippets of 'random' stories in Crave.
(eg The girl with the milk bottles.) Kane
gives us these images but does nothing
with them. It's like a series of
polaroids that awaken the
reader/audience's imagination
- we did a
production of 4:48 Psychosis and I
had to try not to cry on stage when I was
telling the other character that I was
fond of them but couldn't be their friend
because I need my friends to be
together and sane. It made me feel sick
rejecting the character, very poignant,
yet I loved it
- it is difficult
to separate the inseparable into scenes
and pick a favourite from such continual
misery
- all of the play Blasted
-especially the final scene
- the final scene
in Phaedra's Love where Woman 2s
main line is 'The bastard!' - she could
be Vera Duckworth!!
- 4.48
Psychosis: to vindicate the ego/ to
receive attention/ to be seen and
heard (...) / to be forgiven/ to be
loved/ to be free/ Watch me vanish
- M- Do you ever
hear voices?/ B- Only when they talk to
me (Crave)
- I like most of Blasted.
It if witty, yet moving at the same time
- the words in 4.48
Psychosis. They are so beautiful that
each time I read the play, my most
favorite changes. I like it when she
catches the smell of the doctor and
cannot stop the painful longing, wait at
the station or bar or anywhere else. And
the scene in which she says that she
loves the doctor for saving her life. Her
voice is quietly screaming, weeping
without tears
- the "hate
me now?" scene in Phaedra's Love
(scene four). It feels so unbelievably
violent, yet there is almost no physical
contact between the characters (and that
contact is incredibly tender). Like most
of her writing, frighteningly moving
- monologue in 4.48
psychosis. 'It wasn't for long,
I wasn't there long....'. My
favourite line out of the speech is
'A room of expressionless faces staring
blankly at my pain, so devoid of meaning
there must be evil intent.'
- everyone said
A's monologue in Crave, but my
person favourites in the play are the
short tales entwined in the text (eg A
small boy had an imaginary friend, I was
catching a plane...) fabulous, and so
fantastic to perform, the whole thing is
just so fabulously rhythmic
- 4.48
Psychosis 'sometimes I turn
around and catch the smell of
you..' Cos its so damn true!!!
- 4.48
Psychosis - every fucking mortal c*nt
covers their arse and I have lived to
know that this is true - if only someone
had said to her - cover yours get out of
this violent sphere of work and go and
live in the real world again and retire
because you are too nice to survive she
would have lived. The world she lived in
killed her - and where were her real
mates telling her get out Sarah. She
wrote some beautiful beautiful words and
she died because of them
- I'm doing a
production of Crave at college,
where the mind of characters is brought
to life. The opening scene is the most
powerful as its the only pure part of the
entire play: she jumps up from the bath
breathless and scared. I think this
really adds to the happiness of the final
scene. It's fantastic
- the final line
in Phaedra's Love is the funniest
line in the history of the English
theatre
- the dream in
4.48 Psychosis, when she says that she
has 8 minutes life, but she spent half an
hour in the fucking waiting-room
- I really like
the last scene in Blasted when Ian
is sitting there and the light gets on
and off and in between he is doing
strange and brutal things like crying
bloody tears and so on. And sure I
love A's monologue in crave and I love
the numbers in 4.48 Psychosis
- every single
scene she's ever written
- "Sometimes,
I turn around and catch the scent of
you..." monologue, as well as the
doctor monologue "Dr. This, Dr.
That, and Dr. Whatsit" from 4.48
Psychosis
- the Chocolate
scene in Cleansed
- Crave
"he buys me a makeup kit....."
etc
- A's monologue in
Crave - its a beautiful
declaration of true love
- the "I
gassed the Jews..." Speech from 4:48
Psychosis. Powerful symbolism, says so
much more than it does. I love it
so much that I use it as an audition
piece
- Sunflowers in
Cleanse. They are growing just like the
evil in that terrible place
- I can't say that
I have a favorite because every time I
pick up one of her play's and re-read it
I have a new interpretation and it
stirs all new emotions that I sometimes
forget I could feel
- when Ian in Blasted
eats the baby and crawls into the
floorboards
- the story about
the girl and the pints of milk in Crave
- death of Strophe
and Hippolytus in Phaedra's Love,
all of 4:48 Psychosis (unoriginal
but true)
- I've only read Blasted
and Phaedra's Love but the part I
like is when the priest does oral sex
hip. Although this is not a nice
act it demonstrates that people can hide
behind their religion. It also reminds me
about an incident that happen to me when
I was at a catholic school. Not that same
act but I was laughed at for
getting beaten up in front of the student
who beat me up. This scene also reflects
the opposite of the Greek tragedies where
they put the gods up on a peddle stool
but Kane brings the gods/church
"DOWN TO EARTH" in matter of
speaking. Heard a bit about 4.48
Psychosis- that sounds interesting I
would like to read that play in the
future especially as I suffer from
depression
- the scene
beginning 'Have you made any plans?' and
ends 'I'm depressed. Depression is anger.
It's what you did, who was there and who
you're blaming....' It is real, honest
& perfectly captures the contempt
felt by the patient towards the clinical
medics
- the counting
scene in Cleansed
- Hippolytus and
Strophe (Phaedra). It begins with
her desperation and his cynicism and you
see both their true selves emerge. She
from being Miss Perfect-In-Control-Madam
to a bereft daughter who is still in love
with Hippolytus and he from Mr
Hate-the-world, bored, bored, bored to a
man with light of hope and a realisation
of the sacrifice of love. When Strophe
breaks down and his arms turn from
rejection to an embrace - I always cry
- A's monologue in
Crave, 4.48 Psychosis
- I was in a
production of 448 recently and strangely
enjoyed performing someone's emotions. I
enjoyed the scene where the doctor isn't
listening to the patient. There was great
tension between myself and the man who
played the doctor
- Rod and Carl's
first scene in Cleansed
- Robin's death in
Cleansed. The destruction of his
innocence is truly heart-wrenching and
represents what we all go through at some
point in our life
- having just
played A in Crave I would have to
say that even though it's was one of the
most terrifying characters I've had to
play he has the most beautiful expression
of love in his monologue I've ever read.
That said I did gleefully enjoy his
monologue that starts "don't say no
to me you can't say no..." It
completely undercuts the sentiments in
the first and shows his love to be
obsessive. I also love Rod's love speech
in Cleansed and Grace's final
monologue It's too hard to decide
- all of 4.48
Psychosis. it's soooo f*cking
shocking
- A's monologue
from Crave
- too many to name
- ALL of Blasted
- an astonishing piece of work
- the medication
scene in 4.48 Psychosis
- Blasted
act 2
- definitely 4:48
Psychosis f**k you monologue. It's so
brutally honest
- the baby-eating
scene.... (Blasted)
- el final de
fedra. cuando baja el buitre...
- Tinker and the
woman in Cleansed- the actors (at
Royal Court) were brilliant...she was so
lost and yet had redemption in her hands.
I loved her
- ASK. ME. WHY.
F**K YOU F**K YOU F**K YOU flash flicker
slash burn wring press dab slash.
Generally all of 4.48 actually
- parce que ça
fait une putain de sensation (4.48
psychosis)
- Blasted,
Scene three, when the soldier admits to
raping a 12 yr old girl and torturing
four young boys. I had to play this
character in this scene in a student
production and I got standing ovation
- end of Phaedra's
Love. Hippolytus' smiling at the end
then the vulture pecking at him. Also the
other deaths are pretty gripping to!
- in Blasted,
when Ian is buried up to his neck and he
asked Cate to feed him
- f**k you
monologue in 4.48 Psychosis
- a Dream about
the doctor giving her eight minutes to
live after she had been waiting in the
f*cking waiting room for half an hour (4.48
Psychosis)
- at 4:48 when
desperation visits I shall hang myself to
the sound of my lover's breathing...
- the 'F*ck you'
scene in 4.48 psychosis, is certainly
powerful. It explores her emotions, and
shows the chaos inside her head. 'I
gassed the Jews ... I fucked small
children', she hasn´t actually done
these actions, but she sees herself as a
god like figure, dying for others sins!
This play explores the world of the ill,
when you are safe in your theatre
seats!!! Fantastic
- 4.48, not
specified
- A´s mono... Crave
- generally 4.48
Pyschosis. I'm working on it as an
extra drama task at school, another girl
and me; we're working out way through,
and using our own imagination. It's
strange having to make up your own mind
up as how to stage it, rather than just
follow/work on the stage directions. I
especially like the doctor/patient
dialogues
- "you know I
really feel like I'm being
manipulated!" 4.48 Psychosis
- when Cate wakes
up after she'd been raped (Blasted)
- sometimes I turn
around... f**k you
- "Body and
soul can never be married....." Out
of curiosity, I was just wondering how
different people read into the
number of 4.48? if u turn the first one
on its side and connect in order, it
looks like a heart monitor, if u then put
lines down the middle of the dots. the
next one for me is kind of like a
countdown of weeks? I'm not sure, it goes
down in 7's but I'd be really really
interested in others ideas. I'm
performing it now in Australia. Thanks
- the rape scene
in Crave; from "C: I buy a new tape
recorder and blank tapes" to
"C: GOT ME"
- I like the
ending of Blasted. I've already enjoyed
explaining what I get out of it so much
- A's love speech
(Crave) or the Dr This and Dr. That
speech in 4.48 Psychosis
- the
"A" speech in Crave
- 4.48 Psychosis -
so amazing to be able to act one of her
plays - love the waiting room scene and
the Dr. This, Dr. That - really enjoying
rehearsing it for performance in March
2004
- Blasted Page 50
where the soldier admits to Ian his true
intentions
- "Please
open the curtains" from 4.48. but in
all honesty, the whole play is so
powerful, poetic, lyrical and perfect!
- "...love by
its nature..." and the A monologue
(Crave)
- Phaedra's love
scene 6 Hippolyt, Pretre
- a toss up
between the final scene of Blasted
"Can burry me next to her soon.
Dance on my grave" or A's monologue
from Crave "but hang on in for just
ten more minutes before you throw me out
of your life"---She is just
absolutely ingenuous!!!
- A's monolog and
"my will reads f*ck this up and I'll
haunt you for the rest of your f*cking
life" it's amazing "I believe
in anniversaries, that a mood can be
repeated even if the event that caused it
is trivial or forgotten. in this case
it's neither" I could go on for ever
about the amazingness of Sarah Kane,
she's a f*ckin legend
- A's love speech
in Crave, its been said a million times
on here but its just so beautiful and
powerful
- A's speech
''don't say no to me, you can't say no to
me......'' (Crave)
- without a doubt,
the best scene is in Blasted, when the
Soldier cries as he rapes Ian. That's
powerful!
- I dislike my
genitals etc. Just a pure
demonstration of discontent, in the human
psyche. By the way 4:48 is called that as
4:48 am is the most common time for
suicides
- the scene in
Cleansed when the voices are hitting and
raping grace, and Graham holds her head
and helps her block the pain out. I think
that scene explains love and everything
that one person can do for another
- all of them
- having just
performed Cleansed, playing the
lap-dancer, I would have to say the part
where she & Tinker make love.... of
course it was all done through mime, but
it was still excellent. "I love your
c*ck Tinker. / I love your c*ck
inside me Tinker. / F*ck me Tinker. /
Harder, harder, harder. / Come inside me.
/ I love you Tinker." I love
that goddamn line
- A's love speech
followed by the final rejection by C
(Crave)
- The "f*ck
you" monologue from Psychosis. I´m
currently in the middle of rehearsing it,
and its amazing. That, and the rest of
the entire play, are brilliant
- Blasted scene 2-
for its powerful message
- happy and free,
the ending of Crave
- the testicles
thrown onto the barbecue (Phaedra's
Love) - very nice
- ´At 4.48 when
depression visits I shall hang myself to
the sound of my lovers breathing.' My
tutor pointed this out to me, how
beautiful it is, yet how deeply saddening
- A's monologue in
Crave and the apparent development of
this that appears in 4.48- 'Sometimes I
turn around...'
- Cleansed has the
best stage direction ever!- 'Carl tries
to pick up his hands, he can't, he has no
hands'- Brilliant dark humour, v Kane
- in Cleansed when
Grace has an electo-shock and changes her
gender
- "And I am
deadlocked by that smooth psychiatric
voice of reason which tells me there is
an objective reality in which my body and
my mind are one...But I am not here and
never have been." 4:48 Psychosis
- whole of 4.48
particularly the final scene. Truly
inspired writing
- Strophe and
Hippolytus fight scene (Phaedra)
- all of Blasted
- scene 3 Blasted
soldier raping Ian
- a declaration of
love for C in Crave
- the realisation
of Hippolytus (Phaedra's Love)
- in Phaedra's
Love, the concluding scene where
Hippolytus states that "if only
there were more moments like this"
as he gets eaten by a vulture, his scene
between Hippolytus and Phaedra after she
performs fellatio on him, and the opening
scene with Hippolytus blowing his nose
and masturbating
- SHAME SHAME
SHAME DROWN IN YOUR FUCKING SHAME in 4:48
Psychosis also I love the stylistic
qualities of TAKE AN OVERDOES SLASH MY
WRISTS HANG MYSELF scene
- when she says
"I'd always loved you, even when I
hated you", or something like
that...
- the only doctor
who ever touched me voluntarily, who
looked me in the eye, who laughed at my
gallows humour spoken in the voice of a
newly dug grave, who took the piss when I
shaved my head, who lied and said it was
nice to see me, who lied, and said it was
nice to see me (4:48 Psychosis aka
inscrutable doctors)
- Hippolytus and
Strophe talk about what has happened
(scene six) in Phaedra's Love
- A's monologue
in Crave. It is not only a beautiful
exploration of love-the everyday,
domesticated love-but it also comes as
such a surprise that it takes your breath
away. WOW. I want to love like this.
Again
- A`s love
speech. the best speech about love- it
says everything and more (Crave)
- the end of 4.48
starting at the line "Black snow
falls"
- the end of 4.48 Psychosis was
disturbing because Kane killed herself in
the same way shortly after writing the
play. But i loved it
- in 4:48 the: "How do I stop? How
do U stop? How do I stop? How do I stop?
How do I stop?" scene and the
"F*ck you" speech
- my favourite scene has to be the
Doctor this Doctor that scene from 4:48
psychosis. Having studied this play at A
level and used it as our end of year
piece, i have to say that sarah kane is
one of the most prolific and
controversial writers i have come across.
Her use of real emotion within her
writing truly helps the audience to
relate
- what do you want? to die. to sleep. no
more (Crave)
- black snow falls (the end of 4:48)
- the dr. scene (4.48 Psychosis)
- the scene between Strophe and
Hippolytus in Phaedra's Love
- Cuando Hippolytus eyacula en un
calcetín viendo la tele, en Phaedra's
love, porque me agobió mucho al leerlo
la primera vez, pero luego entendí la
vacuidad de la escena y del corazón que
ella quería representar
- I am in love with the sheer beauty of
Crave. The way it doesn't hide behind
anything, yet shows nothing whatsoever.
The use of colour is so magic. It is
amazing. My favourite line is, 'the
balance has gone. The balance, my baby,
has gone'
- the beginning of Crave, with the
phrase "to me you are dead"...
or something like that. I also like the
ending of Blasted
- 4.48 Psychosis- the one when she says
"I killed the Jewish ..."
- from 4.48 - 'What am I like? The child
of negation.....I wish you hadn't, I wish
you hadn't, I wish you'd left me alone'
- love monologue, because I cried the
first time I read it (Crave)
- life is too long (Phaedra's Love)
- love monologue in Crave, the part
about god and suicide in Blasted
- Carl's silent scream in Cleansed
following the genital switching. That
scream is louder than any voice could
carry out. It represents the culmination
of so much pain on the part of not only
Carl, but of everyone in the play
the whole of Crave. Its musicality and
rhythmical text. No troupe will ever do
her pieces justice, no matter how well
they stage them
- when Ian is masturbating himself in
the end of Blasted
- A's monologue about love in Crave
- all of 4:48, the scene with the first
line being...Body and soul can never be
married
- I have read Blasted and I love it
because it is so abstract. Love the whole
play! Reading 4.48 Psychosis at the mo
and what I from what I have read its
great!
- the words from Cleansed: Love me or
kill me
- all are great
- where Ian in Blasted becomes victim
himself to the soldier, rather than him
himself turning Cate into the victim
- 'Dr this and Dr that and dr whatsit
who's just passing and thought he would
pop in to take the piss as well.' 4.48
psychosis This scene is amazing, it is so
full of truth and what she sees through
her eyes
- the moment when the daffodil grows. I
can feel it growing into my belly
- the "Died. Burnt. Lump of charred
meat stripped of its flesh"
monologue in Cleansed. Pure emotion
- A's speech at the beginning of Crave
- bit in Crave that goes "I crave
white on white and black, but my thoughts
race in glorious Technicolor prodding me
awake, whipping away the warm blanket of
invisibility every time it swears to
smother my mind in nothing."
- the interaction between Tinker and the
lap dancer in Cleansed
- in 4.48 Psychosis - I need my friends
to be sane says the Psychiatrist - who
does she think she is!! Ironic
- all the scenes between Cate and Ian
(Blasted)
- 4.48 Psychosis - The scene where the
Psychiatrist isn't listening to the woman
- s/he is unable to see past the text
book answer and listen to the real reason
that makes the woman need/want/be able to
cut herself. The Psychiatrist is as full
of contradictions as the world today, but
at the same time s/he isn't emotionless.
It's a very human reaction
Crave- when all of the voices are
bouncing off each other saying each line
meaningful. Also in 4.48 the bit where
she is saying doctor this and doctor
that. also where she snaps SHAME SHAME
SHAME DROWN IN YOUR OWN F#####G SHAME
- 4.48 psychosis- I have no desire for
death. No suicide ever had. watch me
vanish...watch me vanish...
- the telling of C's rape in Crave, and
4.48's doctors monologues
- Phaedra's Love when he realises he's
raped his own daughter. Its raw
emotion...its real
- personally, I read the whole of 4.48
Psychosis as one whole long continuous
and at the same time wonderfully
disjointed scene. Every page reminded me
of something to do with my own personal
experiences with the Psychiatric services
and the battle between the external
social world and the internal world in my
head when despair creeps in. The endless
list of medication is great because it is
so tragically funny precisely because
it's so brutally honest and true. It
wasn't until I read this play that I
realized just how many different types of
medication they had put me on over the
years, when really all I wanted to do was
be able to express myself freely. Copies
of this play should be left in every
Psychiatric hospital in the world, so
that every isolated patient and doctor
can look in from the outside and focus on
something more than the four walls they
find themselves in. Perhaps one day a
group of in-patients (if they haven't
done so all ready), might perform this
piece! If anyone could portray the humour
within Kane's work, they certainly could.
I don't know what Sarah Kane would feel
about this however...I would like to
think it would make her feel good that
more than just the average play-goer was
getting to grips with her work
- Tinker and the lap dancer is so
compassionate in Cleansed. The irony of
the sour milk and the Spanish student
waiting for his dinner and the tragicness
of the small girl washed up on the beach
and the small dark girl with her
grandfather in Crave
the death of Hippolytus in Phaedra's Love
- brutal
- all of 4.48 Psychosis
- all of it but most of all the Dr This
and Dr That scene
- surely the best line in any of her
work is: "the chicken's still
dancing the chicken won't stop"
(4.48 Psychosis). suitably random
suitably poignant suitably perfect
strangely coherent
- the end scene of 4.48 Psychosis
- the short snippets of 'random' stories
in Crave. (eg The girl with the milk
bottles.) Kane gives us these images but
does nothing with them. It's like a
series of polaroids that awaken the
reader/audience's imagination
- we did a production of 4:48 Psychosis
and I had to try not to cry on stage when
I was telling the other character that I
was fond of them but couldn't be their
friend because I need my friends to be
together and sane. It made me feel sick
rejecting the character, very poignant,
yet I loved it
- it is difficult to separate the
inseparable into scenes and pick a
favourite from such continual misery
- all of the play Blasted -especially
the final scene
- the final scene in Phaedra's Love
where Woman 2s main line is 'The
bastard!' - she could be Vera Duckworth!!
- "My hollow heart is full of
darkness"... "Filled with
emptiness"... "Satisfied with
nothing"... "I feel nothing,
nothing"...
- I liked them all actually... honest
- A's speech about love in Crave
- the big monologue of the man A in
Crave!!!!!!!!!!!!
- 4.48 Psychosis monologue where a
patient encourages herself to be more
sociable
- Cleanesd: Scene where Rod says: I love
you now, I'm with you now, I'll do my
best moment to moment, not to betray you,
Now. That's it no more. Don't make me lie
to you
- the starting of Phaedra's love I
thought was an excellent start of a play
in the shock theatre genre
- all of 4.48
- the flowers growing (Cleansed)
- the love dance of Carl for Rod in
Cleansed
- my favourite scene is at the end of
Blasted were Ian is lying practically
dead on the floor and he still manages to
shit and masturbate. Ian does not
say anything in this scene yet your
imagination runs wild
- Phaedra's Love 1st scene, pure
atmospheric genius - attention grabber!!
- the Doctor told me I only had 8 mins
to live, I was in the waiting room for
half an hour! (4.48 Psychosis)
- having just performed 4:48 Psychosis
as my first year drama production at
college I must say that one of my
favourite scenes is the "gassed the
jews, I killed the kurds.....etc"
scene as it was a challenge to perform
and let me stretch myself to the limit
and test my abilities as an actress
- I like the way Crave is set out and as
the four human natures speak their minds
relating to one another but not at the
same time!
- the end of 4.48 where the line
"it is myself I have never found,
the face pasted on the underside of my
mind"
- I too have performed 4.48 Psychosis,
and I also had to perform the "f*ck
you* part, which I related to one hundred
percent! It's so much my favourite part
that I am using this as an audition piece
for the National Youth Theatre!
- the priest scene in Phaedra's Love
- all of them
- "and I cannot go on, I cannot
fucking go on..."-monologue from
4.48 Psychosis
- I like it because I don't like it
- in Crave there's the most beautiful,
sincere, wonderful declaration of love
I've never read or heard or desired
through all my life...
- 4.48 remember the light trust the
light
- I don't have a specific scene - I
enjoy all of the extremes
touched. A brilliant website
for a brilliant distant writer
- it is so refreshing, she was such a
talented playwright
- scene 20 (closing scene) of Cleansed
- 4.48 psychosis: final scene
- 4.48 psychosis:
What am I like?
the child of negation
out of one torture chamber into another
a vile succession of errors without
remission
every step of the way I've fallen
Despair propels me to suicide
Anguish for which doctors can find no
cure
Nor care to understand
I hope you never understand
Because I like you
I like you
I like you
still black water
as deep as forever
as cold as the sky
as still as my heart when your voice is
gone
I shall freeze in hell
- final scene in Blasted
- the love
monologue from A in Crave
- 4.48 Psychosis, the bit after the Dr
this Dr that, where, the patient screams
at the doctor "You were covering
your arse too, like every other stupid
mortal C**T!, surely one of the most kick
ass parts of the play. And in cleansed,
all of Tinker's role! pure evil!
- I like the whole Cleansed play, I
think it is the image by itself which is
made of dark and powerful parts of
extreme love and pain, but if I am to
choose a concrete scene, It would be a
love monologue from crave, it is so
simple but at the same time so truthful
and sincere
- it is in 4.48 Psychosis, I love the
whole play, but my favourite lines to say
was "I dreamt that the doctor only
gave me eight minutes to live, I've been
sitting in the f***ing waiting room for
half an hour" the dark humour made
saying that line funny. But my favourite
was the "f**k you" speech which
I had to do on my own, it meant a lot to
me and I related to the context of the
play, it is also my audition piece as it
is thought provoking and different!
- f*ck you f*ck
you f*ck you for rejecting me by never
being there f*ck you for making me feel
shit about myself f*ck you for bleeding
the f*cking love and life out of me f*ck
my father for f*cking up my life for good
and f*ck my mother for not leaving him
but most of all f*ck you God for making
me love a person who odes not exist F*CK
YOU F*CK YOU F*CK YOU
- the monologue from 4.48 Psychosis that
she say to everyone F*ck you
- the last sentence in 4.48 Psychosis
- scene one of Phaedra's love. If there
was ever good character introduction...
- the end monologue in 4.48 psychosis
- my favourite Sarah Kane scene would
have to be, scene 16 of Cleansed when Rod
finally speaks up about his love for Carl
and gives his own life because he cant
bear to watch Tinker inflict more pain on
his love! I think the symbolism is the
swallowing of the ring, I think it unites
them, even in death! and the contrast
between Carl and rods love against Tinker
having no remorse is astonishing!
- the end scene of Phaedra's Love. It's
charged with so many ideologies coming
straight from Kane, like Vultures - the
media
- A's monologue in Crave
- 4.48 Psychosis : when one of the
patients is describing her love and
obsession with another woman in her
monologue
- A's monologue in 'Crave'. I also find
the character of 'C' very beautiful
although full of pain
- we are doing 4:48 psychosis for A
Level. "I gassed the Jews. I killed
the Turks. I bombed the Kurds."
- I love the line in 4.48 when she says
' is it possible for a person to be born
in the wrong body? is it possible for a
person to be born in the wrong era?' its
great because you can say it with out any
emotion and it will still hit you like a
ton of bricks
- Tinker force-feeding Grace's
chocolates to Robin in 'Blasted'
- pharmacotherapy sarcasm, 4.48
Psychosis
- shame shame shame.
drown in your fucking shame
- they are all so incredibly relevant at
each stage it is impossible for me to
isolate one scene from the mass of the
whole
- A's monologue in Crave
- the very end of A's monologue where
you can tell he has already broken down
crying as he says the last lines
- the medication scene in 4.48
Psychosis, I'm performing that play at
the moment and it's a satisfying scene to
perform
- no particular favourite, they are all
excellent!!!
- Cleansed - Tinkers dancing box scene
- the end of Psychosis is amazing and so
touching and me and a group are
performing it at Edinburgh festival 2006
and hope we can do the witty yet
desperately sad scenes justice!
- we are anathema, the pariahs of
reason, why am I stricken? I saw visions
of God, and it shall come to pass... gird
yourselves for ye shall be broken in
pieces, it shall come to pass, all the
words of my noisome breath... remember
the light, and believe the light, Christ
is dead and the monks are in ecstasy...
(I've just performed 4:48, and this scene
went to a very talented young actress who
did it justice) this has to be my fave
scene, purely because of the language and
religious imagery
- 'does it give you relief?' bit
- every single one of them...simply
marvellous
- A's monologue in Crave
- everything
- the priest scene is Phaedras Love
- the "F*ck you F*ck you"
scene from 4.48 Psychosis and the end of
Phadreas Love
- when sanity visits. 4.48 Psychosis
- A's monologue in Crave, about all the
things he wants to do with/re his lover.
The most beautiful love monologue ever...
and the whole of 4.48 Psychosis
- have only seen blasted, it makes me
despair of the world, because these
things do happen. It was a university
production, and it was very impressive.
It made me cry when the soldier raped
Ian, even though you hate him too
- the scene from Cleansed in which
Tinker makes love to the Woman and she
shouts "Fuck me Fuck me Fuck me Fuck
me Come inside me". The stage
directions are so tender. The fact that
Tinker starts to cry during love making
and is showing raw emotion after
torturing the hell out of the other
characters is just brutal and beautiful
- I gassed the Jews I killed the Kurds
in 4.48 Psychosis
- all of 4.48 Psychosis
- Blasted act one
- Cleansed wen the body parts got taken
away ... wud luv to c that on a stage
- the end of 4.48 Psychosis
- A's Monologue from Crave. The lilly
growing out of the ass of a dead horse,
beautiful!
- Phaedra's Love: See a doctor. I've got
gonorrhoea
- the end of 4:48 Psychosis
Why do you like/dislike Sarah
Kane's work?
- striking,
compassionate, moving and funny believe
it or not!
- tackling the
unmentionable
- I'd like to see
how you handle the rats in Cleansed
-
why is Blasted set in
Bosnia and not Northern Ireland?
- it's a beautiful
expression of everything important
- it gives me a
mirror on society today (Cleansed)
- Sarah was a
brilliantly original and talented writer,
used her work as catharsis on things that
deeply affected her emotionally, and sang
with compassion for the desperate, the
lonely and the abused. Many thanks for
setting up this excellent web site, at
last a place for SK enthusiasts to meet
and discuss!
- it is the most
pure, brutal yet clear realisation of
love....some of it hurts to read - yet
you can't put it down - her unbelievable
use of poetry - she says the unsayable -
you know the things that are on the tip
of your tongue that you just can't
say....
- because it is
provocative, unusual and not
"politically correct"
- the
impossibility of staging Phaedra with
true justice
- because it is
not banal and trivial, unlike these
questions. I can't help feeling
"What is your favourite Sarah Kane
scene" is a very trivial question.
Could this site be a little less
colourful?
- I find the plays
irritating, difficult, immediate. You can
smell the human flesh and the mind coming
out of them
- she is really
pure. I think she writes in a very direct
way that makes you think about how many
compromises we have to stipulate with
life
- shocking,
touching, relevant, and above all very
dramatically potent
-
the power of
her imagery. Her brutal honesty
- I don't dislike
Sarah Kane at all. Was introduced to her
work 2 years ago, and am still just as
excited now.... Great site! Thank you
- "Like"
isn't a good word. It grabs me and yells
at me and cuts through the bullshit and
the whitewash. What she showed was that
THE SO-CALLED SANE ARE CRAZY, AND THE
SO-CALLED NORMAL ARE SICK. Also she was
very good at stating the truth, even when
sadly (as in 4:48's "nothing will
interfere with your work like
suicide") she failed to rise to that
truth herself. I HATE Sylvia Plath. I
HATE the cults of Plath, Woolf, and other
writers who were women who committed
suicide. Discover her plays. React to
them. But what is all this b----shit
she's only been "recognised,"
cultified, deified after her suicide--the
killing becomes the myth. Let's not do
that, OK? It teaches still-living writers
toxic lessons
- it makes the
modern condition visible like no other
work I have encountered
- it depicts a
profoundly deep human longing that
directly relates to life as we know it
today with tremendous poetic style and
wonderful ironic humour
- she displays
words at random, has no cohesion, sense
of purpose. Just incohesive linkage of
words, contradictions and a sense of
nothing but blandness. Just a tragic
excuse for people to spend hour after
hour justifying, interrupting and trying
to find the connotative meaning of work
that is nothing more than infantry
scribblings
- bringing
difficult themes and issues from the far
distance into our back yard
- I love her work.
It spills over with passion, anger and
love. I feel that love is the most
important emotion in all of her plays, it
condemns people, it changes characters,
it provokes them and it kills them. Her
plays are so intense, and seem to offer a
truth about the world that perhaps we are
afraid to face, and perhaps this is the
reason for the critics reaction to, for
example, Blasted? Sarah's death was
unnecessary. She was so talented, so
fresh and so raw. Theatre has lost what
was an utterly brilliant playwright, and
that will never be replaced
-
very retorting and hard to
stand. You can feel the characters
suffering in your own flesh
- reminds me what
a fragile blood pump the heart is
- I really enjoy
all of Sarah Kane's works. She doesn't
base her play's on ideologies or take on
a political theme which I find very
refreshing. Her work can reflect on real
life issues which she used in a unique
way. Well done Sarah I think that you are
amazing as a theatre student my self I
have to say you are my idol
- 'real', funny,
affecting, brutal, beautiful, painful,
cathartic...
- I like her
economy of language, and the sense of
deeply felt pain
- there is no
compromise
- I like the
sensitivity to people's suffering and the
humour, also the tentative hope at the
end of Blasted. Eventually, in her
subsequent work, her morbidity became too
much - there is more to being an artist
than continually drawing black circles.
There is plenty of Love and Light in the
World
- I am fascinated
by her work because she writes like no
one else. Her work symbolizes courage and
honesty and a great empathy with the weak
and the abused
- I have never had
a reading experience similar to Crave.
When I read it for the first time I had
no clue what it was actually about, so I
read it another six times finding new
aspects every time. And I am sure that
there is still so much to explore. And so
far, I have only read 4.48 Psychosis
once. I adore Sarah Kane for her
multi-layered characters
- When I saw one
of her plays (it was Blasted) the first
time I felt dazzled and fascinated by the
astonishing power in that play. Thomas
Ostermaier, a German director said once
"rape is the topic of the
nineties" and Sarah Kane was it's
best protagonist
- she is
undeniably interesting
- it's very
poetic, very lyrical and makes an impact
emotionally on a very deep level
- she is
intelligent and true
- Kane was perhaps
the only writer who never wrote a 'bums
on seats' play. Good site
- I think Sarah
Kane is a sort of messiah on stage. Not
only she makes us see life as it is, but
she frees on the stage the mechanics
which govern our most vile, cruel, but
unconscious everyday attitude. When she
realized the world has been blinded, she
took the extreme decision, just like
Jesus on the cross. Reinterpreting on the
human side some faith dogmas she wanted
to bring mankind back to humanity. She is
a work of art, and will ever be. Goryjoe.
I'm just blaming myself of not
discovering this website before
- utterly original
and sadly irreplaceable. It will take
another two generations of writing before
anything comes close again
- I especially
like the style in which 4:48 psychosis is
written and learnt a lot from the play
- first time after
about ten years I was shocked and
completely overthrown by something on
stage
- Hey! I'm a
student in the University of the
Philippines, taking up Theatre Arts.
We're doing CRAVE this August 2001
and...WOW. Her work is unspeakable!!! I
just hope we do justice to it...
- because although
her work is excruciatingly painful to
read and watch, it is also beautiful and
truthful at the same time
- I like it
because it tells the truth about what we
are REALLY thinking. Pinter wrote
characters who were really thinking
darker things, but they never talked
about these darker things - it was all in
the subtext. Kane has taken this further.
It is as if she is saying, "If
you're not getting the subtext, let me
make it clearer for you!" That is
not to say her text is in anyway 1 or 2
dimensional - far from it
- her work is
unique, censorious, poetic, relevant
- thank god for
the truth of her plays, something that is
never written about or put on the stage
- I like her
because she's blatantly honest about the
shameful reality that we humans are
afraid to admit. Since I'm just a
freshman student, I was really shocked
about how inhibited were her ideas but I
gradually realized the critical value of
pain, violence, hatred, longing and
anguish in the play because it seemed to
be the best bridge in portraying a deep
need for love, happiness, and freedom
- I love her
ability to see past society's veneer to
what's really going on. kewl site
-
in a world that is cold and
heartless, populated by the likes of Mark
Ravenhill (all stone cold, stilted,
glamorizations of the human race), where
we fill our minds with sounds and images
of love from pop songs and rom-com's,
photography and pornography, in a
desperate attempt to hide from the
reality of love in a society that
condemns such extremes of emotion, Sarah
Kane admirably backed up the assumption
that 'love changes everything' and in
doing so unlocked the key to our current
human condition. She did so with such
stark honesty that it is almost too
unbearable to read as it strikes at the
core of your being with every startling
image. I defy anyone to not find a line
of Sarah Kane's work that touches them in
the purest and most shattering of ways
- the most brutal
poetic honest real inspired writing I
have ever read
- she wrote
honestly directly from her heart
- it reminds me of
Bruce Nauman a bit. When humanity is
portrayed in this quite cold style, it's
often the time you feel the most secure
- sometimes....
it' s too much
- I love
everything she has done. Period
- I've only read
4.48, but the poetry in it reminds me of
mine. Those images are so real
- painful,
katharctical, poetic
- it's funny,
multidimensional and really expontaneous
- her honesty
- I love the dark
qualities that reflect internal strife
- that not
everyone understands it and values it as
theatrical gifts of beauty. Thank you for
this site. Kane was a writer par
excellence and her work is extraordinary
- she was a
ferocious theatre artist. Uncompromising
and honest. Her bravery in her work is
astounding
-
I
think Sarah Kane would hate this website.
It represents everything she was against
in her writing: the Oprahfication of
true, searing emotion and insight. Who is
this site really serving?
- I love the way
Kane has never bent to what society wants
to see. She has made theatre come alive
again through the fact that she was a
true philosopher and poet, possibly the
first since the expressionists to
understand the full scope of human
emotion, and point out its torture. I am
a high school student, who was to direct
4.48 Psychosis in a Brisbane Private
school. It was stopped. People need to
hear these words, need to see these
images. To show these plays is important,
but who in this commercial world will
force people to realise what they already
know, but ignore?
- I love the fact
that she has compassion for even the most
brutal of her characters
- none they all
have value. If I didn't like them I
wouldn't be here. Release Kane's
monologues
- Sarah Kane's
drama is postmodern and minimalist
- her work is
filled with glorious brutality and
entirely beautiful poeticism
- she's
uncompensated shock. She's the bleeding
out. She's lead ballast and
weightlessness. I've never read anything
else so true
- because her
theatre makes you experience not think.
It makes you cry without knowing why and
isn't that what life is all about in the
end
- she just found
the perfect words to describe love and
the way it makes you feel
- I like the
rawness of Kane's texts. After reading
any of her work other plays seem like
they're trying to hard. She doesn't seem
to hide behind wit or anything else for
that matter the way so many writers do.
Although this makes her work transparent
to a certain degree, at the same time her
plays wouldn't have the pace, energy, and
dare I say it honesty that she
produces. The only thing I don't
like are the rats in Cleansed. How
oh how do we stage it or sign it Sarah?
And do we sign the seasonal changes in
the rain for Blasted? Maybe Sarah
was working on a plane we have yet to
understand, or maybe another draft could
have been written. All things said I do
feel her work is the best I've seen. It's
so rich with images and the text has the
power to rip the heart in two. The only
other writers these days I'm even capable
of reading are Labute, Barker, Beckett,
and sometimes Mamet. Oh God, send us
another woman
-
not enough of
it
- I like Sarah
Kane's works because she writes the truth
of life
- I love Sarah's
honesty and her ability to challenge with
her work - something completely lacking
in most contemporary theatre
- discusses
complex emotions/issues without being
sentimental and without offering
solutions to the insoluble - encourages
reader to think and to resist the
temptation to judge others/take
responsibility for others. An
extremely informative and interesting
website. Thank you
- because it's
real!
- strength, pain,
formal experimentation
- I like most of
it
- I've got to say
I'm completely unaffected by the Sarah
Kane fan club and only came across her
play last night at the citizens in
Glasgow - Pinter - that's all I can see.
Pinter said he was investigating the
weasel under the cocktail cabinet - Kane
seems like she has let loose a lion the
in front room- but what does it mean - to
sell be nastier? -or am I a philistine-
is Blasted about war is bad- seems
to be
- it takes what
looks like a normal every day human into
a different light
- I like her
rarity her violence her truth her mystery
her strangeness
- the brutal
honesty and amazing writing. I like
the fact that she wrote without caring
terribly about the limitations of
theatre. I would like more photos
- I love the fact
she never compromised, never said:
"No I can't write that, what'll
people say? How will it be staged?"
That's a director's problem. She was a
writer. And boy, could she write
- it is painful
but it's true
- it's all weird
- Kane's work is
powerful and challenging and shows real
insight into the human mind
- in so few plays,
there are no two alike - a contemporary
writer who could actually write and was a
bit of a poetess too
- I think Sarah
Kane has achieved something that happens
only very rarely: She has found a new
mode to touch the human soul and to make
us feel something. Her theatre may seem
cruel, black, desperate, but it is so
only because it alludes strongly to human
values like love, friendship,
faithfulness. Her work is that of a
photographer: she takes the negatives and
makes us receive the colour
pictures. I am convinced that Sarah
Kane has contributed a lot to
literature-and she has already given a
lot to me and my friends!
- I like Sarah's
omnipotent bleakness
- her language is
very powerful and moving especially in 4.48
Psychosis. Once you've read a Kane
play you cant forget it. 4.48 is
certainly her best play, but I still have
a soft spot for Blasted, and I
wish I had seen the production at the
Royal Court
- because it also
feels pain and pain is your power!
- I like her
characters, they are not just black and
white. They are very human, my favourites
are Cate from Blasted and Rob in Cleansed
- ironic sense of
humor
- it is impossible
to dislike Kane's work. She has broken
the taboo's of modern society and allowed
us to realise our neuroses are normal
after all!! People may slag her off
saying her work only became recognised
after she killed herself but isn't this
the case of most artists/ an artist she
truly was she had a way with words that
is truly magical
- was entirely
drawn in and involved. Cried while
reading Crave in Waterstones
- first, her pure
skill - her facility with language, her
understanding of theatrical imagery, and
her understanding of theatrical history.
But also, her bravery - her willingness
to show both the graphic ugliness of how
we treat each other and the capacity we
have to save ourselves through love. Both
of these things are equally brave. She
was one of a kind. Anyone who is in
Southern California, or who can get here,
MUST see the Rude Guerrilla production of
Cleansed. It is superb. And oh yes, this
is really a terrific site! Very complete
and well-organized.
"Oprahfication"? :-)
- it's shit, burn
all copies
-
I love Sarah's
work, because she don't run away from
problems, but wants to speak about them.
She can write normal things so
poetically. Sarah's gods in theatre were
Pinter and Bond. My god is Sarah Kane
- because it's
shocking and it's true
- Like: the
ability to phrase reality in a new way
that captures life's honesty the
best. Dislike: The difficulty of
the scripts to be performed, oh, wait
that's why I love it
- honesty
- the language is
so strong
-
I love her plays
for their courage in talking about sex
and violence with no stupid barriers.
She's the one who had no fear to say the
truth- there are no moral barriers as
there is no morality, no living God, no
hope, no love, which won't destroy you.
Her view on the problems of each human
being is similar to my other favourite
authors- James Joyce, or D.A.F. de
Sade. What's more, her plays are as
good as the Shakespeare's. That's why I
love Sarah Kane - Hannibal
- I love her
courage and her genius- she really was a
new Shakespeare
- hmmm...
- its so in yer
face, fresh and new. With hidden
psychological depth
- she writes
things how she sees them and doesn't put
a limit on how immoral some scenes are...
'I gassed the jews, I killed the
kurds...' 4.48 Psychosis
- because it's
strange, it's different than other plays.
It is genius. It'll be good to
translate Kane's plays in Polish
- she manifested
the existential angst of today
- I do not
understand Crave, either in English or in
French (translated). How come?
- somewhere in her
pure surrealness is a message. Her plays
seem bleak and pessimistic, but often
contain a surprisingly optimistic
message. How about extended text
extracts?
- her feelings are
similar to mine. I think that I
understand her, the reason why she
committed suicide. She wouldn't have done
it if only she had understood that her
pain could be only a moment. She lives in
me
- its real. Dead
real
- can be real but
too real
- too sexually
graphic and sadistic a result of spending
too much time within gay culture and
losing touch with reality
- its full of real
emotion
- she shows the
other side of the skin, what we wanna
hide but appear with
violence. I am from Chile.
Here we saw a really good version of
Blasted. The theaters were full. Here the
people is so connected to the T.V. and to
the plastic vision that this gives here,
but Blasted have clean so much minds, its
amazing the FX that Sarah produce
here.... She really can clean minds, and
lives
- I like her work
because she is not afraid to write with
honesty and great affection, human
affection. Kane highlights the dark side
of love without feeble sentimentality
- I like her work
because its different and all about
personal issues, brings the point across
kind of like help people, cant really
explain
- It challenges so
called 'normality' and what is considered
as live theatre. She writes truth with
brutality yet with poetry too. I admire
her honesty and refusal to censor her
feelings to avoid controversy. Love it or
hate it, her plays stir disturbing
emotions in every reader who comes across
them. That is a writer
- because she
demands something of us, as actors,
readers, and audiences, that no one else
has dared to in quite the same way as us.
She not only presents us with the truth
and beauty and ugliness of the world, but
challenges us with it
- Sarah doesn't
write plays with a happy ending, she
doesn't try to impress you with big words
and all her literary knowledge, she
writes what she feels and for me that is
true drama. I love her work, its the best
I've ever read. I'm an a level
drama student and I'm studying her work,
it would be good to have more educational
links, facts and figures (boring I know)
but it would really help me and
students everywhere. Thanks. Oh and
nice one for coming up with this site..
its cracker!!
- it's
accessibility through freedom of the
imagination, and the unchained use of
poetry within her works. Also, her use of
comedy within tragedy or tragedy within
comedy, which gives me goose-bumps and
has made me laugh and cry at
simultaneously in private. Can't wait to
see the Oxford production
- Sarah Kane is
inspirational, she changed the way that I
read plays, I will no longer compromise
and settle for something that does not
capture the reality of the dark side or
is brave enough to sit in silence for
actual minutes and let the bodies and the
spatial relationships between them do the
talking
- the only writer
I have come across who tells it how she
honestly sees it regardless of taboos -
how refreshing
- she really knew.
She really knew what was underneath the
skin. I don't think there is much to say
but more to think about, to leave our
eyes wide open so we can see what is
written in the words beneath our flesh
- I love it
because it's weird and wacky and in a
weird way amazingly true to life
- one word: genius
- its intense
- her work is a
cynical yet beautiful look on
relationships; it uses imagery that is
intricate and extreme to get across the
obvious. Keep it coming!!!
- on and beyond
the edge of what anyone else has done
- because I'm an
actor and I play it (Blasted)
- marvellous
Isabelle Huppert in São Paulo, Brasil,
enchanting the crowd for 4 days with 4.48
Psychose
- it has no aim,
it has no story but in this way, it is
the most fathomable piece of work I have
ever read (Crave). Sarah has
managed to put into words, how many of us
feel from this day to the next. I
am more than sad that we have lost this
woman, as I would have loved to have
known her, interacted with her, suffered
with her. I just hope now that she has
found the peace she so craved for
- I love her work,
it's raw and inspired. She transgresses
social boundaries, making you think,
particularly in Phaedra's Love of
the hypocrisy of religion. The scene with
the priest and Hippolytus is incredible
- it forces us to
look at those sides of our personalities
that we would rather deny existed
- I studied it for
my degree. I liked Blasted because
it had a message, but the bit at the end
where the baby is eaten is disgusting
- I like her
language, the way she expresses her pain,
the personalities of her characters. I
feel a very strong empathy, and at the
same time, I feel warmly comforted.
I want to hear more about the performance
of 4.48 Psychosis in France, because my
favorite Isabelle Huppert was playing. I
doubt it that she will come to Japan with
it
- her plays are
brilliant in the fact that they are
theatrically challenging, they think on a
metaphoric level, symbolic acts happen in
the plays and when we are given the stage
directions they seem impossible! But, the
intention can be acted on, we are not
given the solutions and so we are given
the freedom to make wild and creative
decisions
- the fact that it
makes sense to me, she talks about people
in a way that is so real
- the bestiality
because it detracts from the beauty
- the shortness of
words
- I like her work
because she shows me real theatre
- its very poetic
and the language is short and touching
and when I reread the plays I'm each time
again very fascinated. Your side is
interesting especially for me because I'm
from Switzerland and there are no sites
in German about Sarah Kane like your site
- she was an honest writer.
She didn't write forcefully, like some of
her contemporaries (Ravenhill), she wrote
what came naturally to her and what she
felt was the truth
- she is perfect
like an ice
- it scares me and
pushes me to confront the thing I fear in
myself. Cleansed in Chicago
was the best
- its from the
heart, its emotive and it speaks to the
audience. its not manipulating and it
doesn´t put people down its merely there
to express her love hate and depression
that she is living in
- its so old and
truthful, and bares the emotions other
playwrights don't dare to touch upon
- I love it
because of it's brutal honesty and true
"warts and all" view of life.
I've been hooked ever since I saw 4:48
Psychosis on a school trip at the Royal
Court. I never found anything else that
can be so true and so beautiful in it's
ugliness (except life, I suppose).
Good site, like the fact the section on
books is varied to include influences and
works to understand her better. Love the
fact that you acknowledge Artaud
- she is honest,
and Sarah is great modern tragedy. In
years that are coming, she will be more
and more recognised like the only honest
voice of XX century
- I'm starting to
work on 4;48 Psychosis in July. I
graduated recently from the Conservatoire
de Montréal as an actor but I'm also a
video artist. All of the group working on
the production is French but we've
decided to play it in English to respect
the original sounds and meanings of the
authors thought. I do not work as an
actor on the show but as a video artist
- behind her words
are the truth about the human condition,
she wrote what she knew and didn't
pretend to know anything
- she's very
clever and I really like the way she
writes. People think that just
because she killed herself that her plays
are gunna be psychotic. but I think if
you read them first before judging them,
as I did you will enjoy them more,
forget she killed herself then read them,
you'll see them from a different point of
view
- I guess it can
be a bit graphic but I guess sometimes
you have to open up the truth of the
matter or at least the
pain/lines/sub text etc from the earlier Phaedra
plays to the foreground
- She doesn't
sugar-coat anything, she writes with
passion, honesty & understanding. She
isn't just another one of those writers
trying too hard to be 'deep'
- The comments
previously submitted to this site
demonstrate the malign effect that Sarah
Kane's influence will have over
less talented playwrights of the next
generation. These writers will neglect
the bourgeois values of characterisation,
plot, structure etc in preference to
telling us about their tortured
souls. Great site! Keep it up!
- I like the
courage to tackle the unspeakable and
dislike the way it makes me feel
uncomfortable to watch it
- I like the truth
of almost each sentence
- she pushes and
breaks down the boundaries of theatre
-
it's where Strindberg
left off. I would suggest Chuck Mee
Jr.'s work to those who like Kane. Click
on the image for his website
- I only saw Cleansed
years ago in London but I am reading the
rest of the plays. I have a especial
interest on Sarah Kane. Please update me
on anything to do with her and her work
and thank you very much for your great
website
- despite the
atrocities committed in her plays and the
tortured souls she has created, Kane's
work remains resolutely optimistic. You
come out of the theatre feeling truly
cleansed and, crucially, with a greater
understanding of yourself. This is what
all art strives for but very little
achieves. Unfortunately, I believe her
death HAS created a Kane-cult in which
she has been lumped together with various
other poets and playwrights. Inevitable
perhaps, but unfair
- emotionally
intense. Good, good site
- images of
depravation, pain and loneliness, which
are some of the most difficult things to
deal with
- it is my
ambition to play Cate at some point (Blasted)
- something to aspire to
- it speaks to me
like a hive-mind, like the multi-facets
of ourselves as the "hamster"
of thoughts roll through our heads
- I love the way
that light is used throughout the play (Blasted)
- ella es
perfectamente humana, agobiada por los
monstruos de su cabeza y de su corazón,
como todos los artistas. Es maravillosa
como dramaturga, intensa y honesta
- I love the fact
that everybody still talks about her and
that people get shocked so easily be here
absurdity....
- I think her mind
is really interesting, It doesn't
scare me what she wrote it enthrals me. I
am currently performing 4.48
- I´d like to
know when Sarahs plays r performed in
London, and lets have a nerdy (not
expensive) gathering. I´d love to
act in one of the plays but I'm not a
"professional" actress ,just a
very passionate one thank you tara
- When I read 4.48
I was literally climbing up the wall (I
know it sounds strange) it made something
deep inside act in a way I have never
felt before. It is a wonderful
experience!
- elle ose
regarder sous ses pieds
- Sarah Kane as we
all know lead a very turbulent life. And
she wrote it in her plays so what she
writes is from the heart you get the
sense that the language within a Sarah
Kane play is not behaving itself, this is
appealing to me. When you read Sarah
Kane's work you get the sense of her
spirit in the text of the play
- she was a very
powerful dramatist
- she doesn´t lie
about our society and all the issues
going on around the world
- I like it
because it grips all emotion
- they tell us how
the world is brutal
- they are lovely
and disturbing
- I like it
because it inspires me, makes me feel
something that not literature, music or
whatsoever has made me feel before.
Good homepage
- there are no
words
- the honesty, and
how she wasn't afraid to be raw with the
work
- I like it cause
it's so intense, true, genius...
- last night I
read 4.48 it made me look deep inside
myself and question the very essence of
my being, what did I find.... a black
void...and a voice of reason. Sarah
Kane's work brings to life the complexity
of the human condition
- I love hate feel
taste smell touch
- because its raw
- Sarah Kane is a
legend. I've just finished playing the
role of Ian in Blasted. Hard, very
challenging and had to break a lot of
barriers. All in all though, its a
masterpiece!
- she was and is
the hopeless light where we find our
salvation. I sometimes wish she wasn't
right but when I think about that I find
another never-ending path in my
mind...Forgive me God
- ha avuto
coraggio, ha combattuto, ha cercato la
Verità
- nothing is as
true as Crave
- her talent is
extraordinary. I would prefer directing
Blasted to f*cking madonna, britney, or
any of the other pop tarts.
Great site...love the Amazon links
- it's raw and it
says all the things I ever wanted to say
but couldn't find the words
- Sarah Kane
suffered a lot from Depression and in a
way that killed her, but her beliefs on
Men and the power she portrayed of them I
think is not true to life
- because she
shows the inexpressible
- I love her
fearlessness
- it's my life
-
the morbid
fascination of cruelty and the beauty of
innocence is apparent in abundance in
Blasted
-
original in places,
makes you feel moved sometimes, but no
better in fact than the contemporary
theory of culture, repetitive and
unattractive
-
as I have performed
4.48 psychosis, for my AS level drama at
Warren Sixth Form Romford Essex, it would
have to be that. The whole play is
fascinating and disturbing at the same
time. The medical notes scene, is the
hardest lines I have to learn, but what a
great challenge. The end scene was the
best part of 4.48, the pure realisation
that she can finally be free in death, is
tear-jerking, "In Death you hold me
never free...it is myself I've never
met...please open the curtains. Kane
produced pure brilliance! But I can't
forget Cleansed, Tinker is a great role
to play, I really want to do it some day!
I've learnt so much from Sarah Kane, she
is, for me, the most powerful playwright,
whose plays I have had the privilege of
reading and performing. Its true that
GENIUS' DIE YOUNG! (and that is so true
for Kane). Maybe someday, someone will
follow in her footsteps, and be as great
or greater. Society and Theatre needs it!
-
I like Sarah Kane
because of the fragility and at the same
time brutality of her work, because of
her specific and genuine seeing and
describing of love, cruelty, war,
despair...
-
I love Sarah Kane's
work because she pushed drama to it's
fullest and even though audience and
critics did not understand or even like
her work she pursued to use Artaudian
drama and theatre of cruelty to teach
audiences about her work. I think she
truly was a legend!
-
because she is an
amazing writer, and the more you read her
stuff the more you start to notice things
on a more subtle level
-
I am in 4.48
psychosis, and she is the most amazing
thing I have ever had the PLEASURE to
explore, memorize, and become, I just
hope I can do it the justice it
deserves. The best warm most
wonderful words
-
I like here because
she's realistic. She wrote from her heart
-
she's so direct and
open and desperate
-
a brutal,
hard-hitting writer- sometimes wrote like
Stoppard without the comedy so that all
that's left is black
-
Sarah Kane's ideas on
'In-Yer-Face' theatre are amazing! Her
brutality is out of this world, but I do
feel that only her own work shows off her
Brilliance. Phaedra's Love wasn't one of
her best plays but I think that is
because it was her own interpretation of
a traditional Greek play. She was asked
to do this play, I feel that if this were
her own work then she would have had more
freedom
on reading about the tragic suicide of
this astonishing playwright and then
reading her last ever play, 4.48
Psychosis I got this feeling that she was
trying to tell us something. I believe it
was her final message to us, even
possibly her suicide note? The
resemblances to her life and to the words
and action within the play and are
uncanny!! I don't know how u feel on this
matter? but maybe it can be up for
discussion? "A tab of pain
Stabbing my lungs
A tab of death
Squeezing my heart
I'll die
not yet
but it's there"
-
its so different and
full of depth, every line has a meaning
-
love the performance
value, especially in Crave
-
I love the way Kane
is one of the few writers who can
actually define and convey the feeling of
utter psychotic turmoil... I feel the
only reason some people do not like /
appreciate her work is because it does
the unconventional, and dares to explore
the brutal and frightening underlayer of
the sugar-coated world that the rest of
literature depicts
-
I admire the way Kane
kept changing and revolutionised the form
of her plays. I like Crave so much
because of it's poetic style and the
rhythms
-
in 4.48 trying to
learn flash, flicker is the hardest task
I have ever had to master but it was a
great challenge. I love the emotion that
is behind it and the truth behind her
words
-
I really like Kane's
work because it's so REAL
-
lack of
beautification
-
my name is Sarah
Kane, and I would love to see what u r
doing with my name
-
for me Sarah was, and
is, not only incredible because of her
poetry through words and image, but
because of her incredible ability to a
rawness in form and structure and take
that to another plane. I cannot have
favorites in her work because each time I
come to read or see these works there is
something else from her writing that
grabs my insides and won't let go
-
wherever Sarah's
fresh and invigorating spirit and
artistic talent came from is a rare and
incredible place
-
that she did not
finish one of her pieces
-
she has so much balls
it's hard not to admire her
-
she pushed the
boundaries of acting, staging, directing,
theatre in general with her fantastic
writing. She is a legend!!!
-
I think Sarah's
writing is beautiful however, as I am a
Christian found it to be extremely
blasphemous. She shouldn't have blamed
her state of depression on God. God will
never make you depressed. Dont forget
your own free will and the will to do
what you desire. How about blaming some
on Evil. The devil works too and would
have worked hard at making her fall from
Grace. That being the Grace of God. I
find that cursing God's name is deeply
offensive and draws more and more people
to her writing. I believe if Kane had
more Faith in God she might never have
gone through with taking her own life
-
Sarah Kane has a
unique and contemporary voice to her
works that challenge both
audiences/directors and casts
-
it's honest, raw and
brutal. However, so many people have
grasped onto it, labelling it as the
epitome of 'in-yer-face' I'm not so sure
it is, Ravenhill or Neilson can be much
more 'in-yer-face'... just my personal
opinion...
-
powerful, balzy,
educational, emotional, raw,
intelligent...incredible. Read
every one of her plays again and again
and again and again...she will forever
enlighten your world with words so
powerful they will change the way you
think, act and perceive life!!!
-
raw theatre mate! raw
theatre!
-
because all plays
like real
-
I like Sarah's work
b/c she can see beyond the world and the
typical "play." She can make
the truest things that people like to
tuck away in a corner or sweep them under
the rug and make it a reality
-
I like it very much
-
I connect to them on
a basic human level
-
there is
everything. Life, sex, truth,
violence, love, ever tenderness
-
all you people that
'dont get it' are talking shit about
Crave. I'm doing it as an AS piece
and when you look deep into it... it
makes perfect sense. She wanted you to
interpret it in your own way =).
Its one of the best plays ever!
-
it gives me a mirror
of myself
-
unique, daring and
real
-
Sarah Kane
writes poetry and music. She writes emotions, rather than
words. Her plays are brutal, but for some reason never
vulgar. There is always tenderness. I've always wanted to
know why Sarah Kane actually killed herself
-
thanks the page has
been useful we are writing a short piece
at college using sarah kane as a theme
and was just wondering wheter there wwas
any basic informantion on her her music
taste (I know about pixies and creep) and
her dress sense what was she like thanks
-
the way she tackles
unmentionable topics so daringly. I
like the way she talks about topics that
are so unmentionable yet they are
mentionable because as a society we all
know that this happens yet we are afraid
to say it
-
I write in Italian,
sorry but my English can't... Quello che
annienta di Sarah Kane è la sua
capacità di giungere e di espriemere con
coscienza il lato oscuro e
irraggiungibile dell'essenza del proprio
io, che è poi l'io di tutti coloro che
hanno pensato almeno una volta al
suicidio, l'io di coloro che sentono il
dolore della strada, l'io di chi ancora
non ha perso la capacità di commuoversi
e di comunicare una necessità
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