Sarah Kane feedback results

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

2005-2006

- 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)

2007

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