Sarah Kane's 4.48 Psychosis

Nonfiction, Entertainment, Theatre, Playwriting, Performing Arts, Fiction & Literature, Drama, British & Irish
Cover of the book Sarah Kane's 4.48 Psychosis by Glenn D'Cruz, Taylor and Francis
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Author: Glenn D'Cruz ISBN: 9781351599375
Publisher: Taylor and Francis Publication: February 7, 2018
Imprint: Routledge Language: English
Author: Glenn D'Cruz
ISBN: 9781351599375
Publisher: Taylor and Francis
Publication: February 7, 2018
Imprint: Routledge
Language: English

"Everything passes/Everything perishes/Everything palls" – 4.48 Psychosis

How on earth do you award aesthetic points to a 75-minute suicide note? The question comes from a review of 4.48 Psychosis’ inaugural production, the year after Sarah Kane took her own life, but this book explores the ways in which it misses the point. Kane’s final play is much more than a bizarre farewell to mortality. It’s a work best understood by approaching it first and foremost as theatre – as a singular component in a theatrical assemblage of bodies, voices, light and energy. The play finds an unexpectedly close fit in the established traditions of modern drama and the practices of postdramatic theatre.

Glenn D’Cruz explores this theatrical angle through a number of exemplary professional and student productions with a focus on the staging of the play by the Belarus Free Theatre (2005) and Melbourne’s Red Stitch Theatre (2007).

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

"Everything passes/Everything perishes/Everything palls" – 4.48 Psychosis

How on earth do you award aesthetic points to a 75-minute suicide note? The question comes from a review of 4.48 Psychosis’ inaugural production, the year after Sarah Kane took her own life, but this book explores the ways in which it misses the point. Kane’s final play is much more than a bizarre farewell to mortality. It’s a work best understood by approaching it first and foremost as theatre – as a singular component in a theatrical assemblage of bodies, voices, light and energy. The play finds an unexpectedly close fit in the established traditions of modern drama and the practices of postdramatic theatre.

Glenn D’Cruz explores this theatrical angle through a number of exemplary professional and student productions with a focus on the staging of the play by the Belarus Free Theatre (2005) and Melbourne’s Red Stitch Theatre (2007).

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