Sarah Kane in context

Contents
Introduction
(Laurens De Vos and Graham Saunders)
Part I: Surrounding Voices
1. Reviewing the fabric of Blasted
(Elaine Aston)
2. Sarah Kane before Blasted: the monologues
(Dan Rebellato)
3. ‘Looks like there’s a war on’: Sarah Kane’s Blasted, political theatre and the Muslim Other
(Aleks Sierz)
4. Staging Power: the politics of sex and death in Seneca’s Phaedra and Kane’s Phaedra’s Love
(Zina Giannopoulou)
5. The Beckettian world of Sarah Kane
(Graham Saunders)
6. Cruelty, violence and rituals in Sarah Kane’s plays
(Stefani Brusberg-Kiermeier)
7. Sarah Kane, experiential theatre and the revenant avant-garde
(Clare Wallace)
Part II: Subjectivity, Responsibility and Representation
8. The voice of Kane
(Ehren Fordyce)
9. ‘I love you now’: time and desire in the plays of Sarah Kane
(Robert I. Lublin)
10. Sarah Kane and Antonin Artaud: cruelty towards the subjectile
(Laurens De Vos)
11. Posthumanist identities in Sarah Kane
(Julie Waddington)
12. Neither here nor there: theatrical space in Kane’s work
(Annette Pankratz)
13.‘Victim. Perpetrator. Bystander’: critical distance in Sarah Kane’s Theatre of Cruelty
(Hillary Chute)
14. Sarah Kane’s Phaedra's Love: staging the implacable
(Peter A. Campbell)
15. Under the surface of things. Sarah Kane’s Skin and the medium of theatre
(Mateusz Borowski)
16. ‘We are anathema’ – Sarah Kane’s plays as postdramatic theatre v. the ‘Dreary and repugnant tale of sense’
(Eckart Voigts-Virchow)
Epilogue
‘The mark of Kane’
(Edward Bond)
References
List of Contributors
Index