Abstract
[Autom. eng. transl.] Sarah Kane's approach to theater is entirely a "hand-to-hand". The quête of this great English playwright and poet consisted in fact, already from her initial experiences as an actress and immediately after as a director, in composing and recomposing what remains of the body, that is, of the mind. The short essay I am presenting focuses in particular on the last text: 4:48 Psychosis (1999, posthumous; first production 2000). After the images of raped bodies, the carnal scenes of persecution exhibited by his first three texts (Blasted, 1995; Phaedra's Love, 1996; Cleansed, 1998), works of an excessive theatricality full of civil and political values, overloaded with extreme jargon , 4:48 Psychosis leaves behind agony and savagery, as the previous work had done to a different extent (Crave, 1998). Kane dissolves piece by piece physical action and dramatic plot, in search of the exact but unknown map of the immaterial body-mind, to find shelter and tenderness.
| Translated title of the contribution | [Autom. eng. transl.] "His face imprinted on the back of my mind." For Sarah Kane |
|---|---|
| Original language | Italian |
| Title of host publication | Il corpo parlante. Contaminazioni e slittamenti tra psicoanalisi, cinema, multimedialità e arti visive |
| Editors | G Bartorelli, G Bianchi, R Salvatore |
| Pages | 277-290 |
| Number of pages | 14 |
| Publication status | Published - 2021 |
Keywords
- body
- corpo
- teatro
- theater