| Current theatre is in
decline because on the one hand it has lost any feeling for seriousness,
and on the other for laughter. Because it has broken away from
solemnity, from direct, harmful effectiveness- in a word from
Danger. For it has lost any true sense of humour, and laughter's
physical, anarchic, dissolving power. Because it has broken away
from the profoundly anarchic spirit at the basis of all poetry.
Antonin Artaud,
translated by Victor Corti |
Sarah Kane was born in Essex on 3 February 1971. Both
parents were journalists and deeply religious. She studied drama at Bristol
University, graduating with first class honours, then did an MA at Birmingham
University. She suffered from depression and had spells in hospital. A suicide
attempt with sleeping pills was unsuccessful
but a few days later on 20 February 1999 she hung herself in the hospital where
she was being treated.
 |
Flowers for Sarah by
Jess.
Outside the Royal Court Theatre, two years on. |
Her talent was
recognised early. Mel Kenyon saw a student production of Blasted
and became her agent. The Royal Court Theatre staged many of her works. She is
now translated and performed all over the world.
 |
James MacDonald writes
"what she did was gentle, truthful and intelligent.
She also loved music, and one day some trainspotter may
feel impelled to write a thesis on the number of lines in
her plays that are actually borrowed from the works of
Joy Division, the Pixies, Ben Harper, Radiohead, Polly
Harvey, the Tindersticks, even Elvis Presley. Her
theatrical gods were Beckett, Pinter, Bond, Potter, but
she wrote directly from her own experience and from her
heart" |
When Kane wrote
Crave under the name Marie Kelvedon (Kane grew up in Kelvedon
Hatch) she produced the following fictional biographical notes
for Marie:
Marie Kelvedon is
twenty-five. She grew up in Germany in British Forces
accommodation and returned to Britain at sixteen to complete her
schooling. She was sent down from St Hildas college,
Oxford, after her first term, for an act of unspeakable Dadaism
in the college dining hall. She has had her short stories
published in various European literary magazines and has a volume
of poems Onzuiver (Impure) published in Belgium and
Holland. Her Edinburgh Fringe Festival debut was in 1996, a
spontaneous happening through a serving hatch to an audience of
one. Since leaving Holloway she has worked as a mini-cab driver,
a roadie with the Manic Street Preachers and as a continuity
announcer for BBC Radio World Service. She now lives in
Cambridgeshire with her cat, Grotowski.
Chronology of her
work
| |
As an
actor |
Work by
Vincent O'Connell
Victory by Howard Barker, playing Bradshaw
Cleansed (a few performances as Grace)
Crave (a few performances as C)
|
| |
As a
director |
Joan
Littlewood's Oh, What A Lovely War at school
Works by Shakespeare at school
Chekhov´s The Bear at Soho Polytechnic
Shakespeare's Macbeth at Bristol University
Caryl Churchill's Top Girls at Bristol University
Clare McIntyre's Low Level Panic at Bristol University.
Susan Salmon played Mary
Georg Buchner's Woyzeck
Phaedra's Love
|
| 1991/ 1993 |
As a
writer |
Sick,
three monologues performed at the Edinburgh Festival. The
monologues are:
- Comic Monologue
- Starved
- What She Said
The monologues are unavailable, but
"the bits of monologue she really liked resurfaced in the
published work... particularly Crave and 4.48" (Simon Kane, on
the site discussion page, 15-11-2001).
Blasted produced as an MA student production.
|
| 1995 |
 |
Blasted produced at the
Royal Court Theatre, London |
| 1996 |
 |
Phaedra's Love
produced at the Gate Theatre, London |
| 1997 |
 |
Skin, an 11 minute film
with script by Kane, broadcast on Channel 4 |
| 1998 |
 |
Cleansed produced at
the Royal Court Theatre, London |
| 1998 |
|
Two short articles for The Guardian newspaper "Drama with
Balls" and "The only thing I remember is...". See the magazines
page for more details. |
| 1998 |
 |
Crave produced at the
Traverse Theatre, Edinburgh |
| 2000 |
 |
4.48 Psychosis produced
posthumously at the Royal Court Theatre, London |
|
Theatre has no memory,
which makes it the most existential of the arts.
Sarah Kane, 1998 |
|