Sarah Kane

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Sarah Kane
Born	February 3, 1971(1971-02-03) Essex, England
Died	February 20, 1999 (aged 28) King's College Hospital, London
Occupation	playwright, screenwriter, director, actor

Sarah Kane (February 3, 1971 – February 20, 1999) was an English playwright.

Her plays deal with themes of redemptive love, sexual desire, pain, torture — both psychological and physical — and death. They are characterised by a poetic intensity, pared-down language, exploration of theatrical form and, in her earlier work, the use of extreme and violent stage action.

Kane's inspirations were in expressionist theatre and other non-naturalistic theatrical forms, including Jacobean tragedy.^[1] Her work is thus at variance with the naturalistic tendencies of much 20th century English theatre. Her published output consists of five plays and a screenplay for a short film, Skin.

Contents 1 Life 2 Early work 3 Later work 4 Acclaim 5 Work 5.1 Plays 5.2 Screenplays 6 Literature 7 References 8 External links

[edit] Life

Born in Brentwood, Essex, and raised by evangelical parents, Kane was a committed Christian in adolescence. Later, however, she rejected those beliefs. She studied drama at Bristol University, graduating in 1992, and went on to take an MA course in playwrighting at Birmingham University, where she studied under the playwright David Edgar.^[2]

Kane struggled with severe depression for many years and was twice voluntarily admitted to the Maudsley Hospital in London.^[3] However, she wrote consistently, if slowly, throughout her adult life. For a year she was writer-in-residence for Paines Plough, a theatre company promoting new writing, where she actively encouraged other writers.^[4] Before that, she had worked briefly as literary associate for the Bush Theatre, London. Kane's life was brought to a premature end in 1999, when, two days after taking an overdose of prescription drugs, she committed suicide by hanging herself in a bathroom at London's King's College Hospital.^[5]

[edit] Early work

Kane wrote ^[6] that she was attracted to the stage because "theatre has no memory, which makes it the most existential of the arts...I keep coming back in the hope that someone in a darkened room somewhere will show me an image that burns itself into my mind."

Apart from some early writing which she would dismiss as "juvenilia",^[7] Kane's first play was Blasted. Kane wrote the first two scenes while a student at Birmingham, where they were given a public performance. The agent Mel Kenyon was in the audience and subsequently represented Kane, suggesting she should show her work to the Royal Court Theatre in London.^[8]

The completed play, directed by James Macdonald, opened at the Royal Court Theatre Upstairs in 1995. The action is set in a room of a luxurious hotel in Leeds where Ian, a racist and foul-mouthed middle-aged journalist, first tries to seduce and later rapes Cate, an innocent, simple-minded young woman. From its opening in a naturalistic –though troubling– world, the play takes on different, nightmarish dimensions when a soldier, armed with a sniper's rifle, appears in the room. The narrative ultimately breaks into a series of increasingly disturbing short scenes.

Its scenes of anal rape, cannibalism, and other forms of brutality, created one of the biggest theatre scandals in London since Edward Bond's Saved.^[9] Kane admired Bond's work, and he in turn publicly defended Kane's play and talent.^[10] Other dramatists whom Kane particularly liked and who could be seen as influences include Samuel Beckett, Howard Barker,^[11] and Georg Büchner, whose play Woyzeck she later directed (Gate Theatre, London 1997).

Blasted was fiercely attacked in the British press. The Daily Mail drama critic Jack Tinker wrote a review headlined "this disgusting feast of filth."^[12] This reaction was shared, if in slightly more muted terms, by most other critics.^[13] Blasted was, however, praised by fellow playwrights Martin Crimp,^[14] Harold Pinter (who became a friend), ^[15] and Caryl Churchill,^[16] who considered it "rather a tender play". It was later seen to be making parallels between domestic violence and the war in Bosnia, and between emotional and physical violence.

Kane was then commissioned by the Gate Theatre, London, to write a play inspired by a classic text. Phaedra's Love was loosely based on the classical dramatist Seneca's play Phaedra, but given a contemporary setting. In this reworking of the myth of Phaedra's doomed love for her stepson Hippolytus, it is Hippolytus, rather than Phaedra, who takes the central role. It is Hippolytus' emotional cruelty which pushes Phaedra to suicide. Kane reversed classical tradition by showing, rather than describing, violent action on stage. The play contains some of Kane's wittiest and most cynical dialogue. She described it as "my comedy."^[17] Directed by Kane, it was first performed at the Gate Theatre in 1996.

This was followed two years later by Cleansed, presented by the Royal Court at the Duke of York's Theatre, and again directed by James Macdonald. This was at the time the most expensive production in the Royal Court's history. Kane had written the play after reading Roland Barthes' assertion that "being in love is like being in Auschwitz."^[18] Cleansed is set in what Kane in her stage directions described as a university but which functions more as a torture chamber or concentration camp, overseen by the sadistic Tinker. It places a young woman and her brother, a disturbed boy, a gay couple and a peepshow dancer within this world of extreme cruelty in which declarations of love are viciously tested. Kane's most theatrically ambitious work, it pushes the limits of what can be realised in the theatre: stage directions include "a sunflower pushes through the floor and grows above their heads" and "the rat begins to eat Carl's hand."

[edit] Later work

A change in critical opinion occurred with her fourth play, Crave,^[19] which was directed by Vicky Featherstone and presented by Paines Plough at the Traverse Theatre in Edinburgh in 1998. The play was performed under the pseudonym of Marie Kelvedon, partly because the notion amused Kane, but also so that the play could be viewed without the taint of its author's notorious reputation. "Marie" was Kane's middle name and she was brought up in the town of Kelvedon Hatch in Essex.^[20]

Crave marks a break from the on-stage violence of Kane's previous works and a move to a freer, sometimes lyrical writing style, at times inspired by her reading of the Bible and T. S. Eliot's The Waste Land.^[21] It has four characters, each identified only by a letter of the alphabet. It dispenses with plot and unlike her earlier work, with its highly specific stage directions, gives no indication what actions, if any, the actors should perform on stage, nor does it give any setting for the play. As such, it may have been influenced by Martin Crimp's 1997 play Attempts on Her Life, which similarly dispenses with setting and overall narrative. Kane had written of her admiration for Crimp's formal innovations.^[22] The work is highly intertextual. At the time, Kane regarded it as the "most despairing" of her plays, written when she had lost "faith in love."^[23]

Her last play, 4.48 Psychosis, was completed shortly before she died and was performed in 2000, at the Royal Court, directed by James Macdonald. This, Kane's shortest and most fragmented theatrical work, dispenses with plot and character, and no indication is given as to how many actors were intended to voice the play (in Macdonald's production, two women and one man performed the work). Written at a time when Kane was suffering from severe depression, it has been described by her fellow-playwright and friend David Greig as having as its subject the "psychotic mind."^[24] According to Greig, the title derives from the time — 4.48 am — when Kane, in her depressed state, frequently woke in the morning.

[edit] Acclaim

Though Kane's work never played to large audiences in Britain in her lifetime, and was at first dismissed by many newspaper critics, her plays have been highly influential and widely performed in Europe and South America. In 2005, the theatre director Dominic Dromgoole wrote that she was "without doubt the most performed new writer on the international circuit".^[25] Fellow-playwright Mark Ravenhill has said her plays "have almost certainly achieved canonical status."^[26] At one point in Germany, there were 17 simultaneous productions of her work.

[edit] Work

[edit] Plays

• Blasted (1995)
• Phaedra's Love (1996)
• Cleansed (1998)
• Crave (1998)
• 4.48 Psychosis (1999)

[edit] Screenplays

• Skin (1995)

[edit] Literature

• Sarah Kane: Complete Plays. London: Methuen 2001 ISBN 0-413-74260-1
• Graham Saunders: ‘Love Me or Kill Me’. Sarah Kane and the Theatre of Extremes. Manchester: Manchester University Press, 2002 ISBN 0-7190-5956-9

[edit] References

[edit] External links

• Iain Fisher's Sarah Kane tribute site
• Obituary in British Theatre Guide
• IMDB
• Guardian: Sarah Kane (10/2005)
• A critical essay on Sarah Kane's work (Spanish)

Persondata
NAME	Kane, Sarah
ALTERNATIVE NAMES
SHORT DESCRIPTION	Playwright
DATE OF BIRTH	February 3, 1971
PLACE OF BIRTH	Essex, England
DATE OF DEATH	February 20, 1999
PLACE OF DEATH	London, England