In what ways can Sarah Kane’s work be considered postdramatic?

Bull, Laura (2013) In what ways can Sarah Kane’s work be considered postdramatic? BA dissertation, University of Portsmouth.

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    This discourse explores the ways in which Sarah Kane’s work may be understood as postdramatic. It utilises postdramatic theory, interwoven with Aristotle’s notions of dramatic form, to provide an insight into the postdramatic dramaturgies present within Kane’s texts. The developments of Aristotle’s theories, and of Szondi and Hegel are also valuable when regarding how Kane can be considered postdramatic. A historiology of postdramatic theory is provided to demonstrate the complexities of defining it. This difficultly is eased with the paralleled analysis of Aristotle’s work, as it determined to be easier to define the postdramatic for what it is not.

    The circumstances surrounding Kane’s career are also explored, in order to ascertain how she became interested in the re-working of dramatic form she re-invents with each text. The landscape of British theatre that predated her career, including the writers who influenced her are touched upon, with reference to the abolishment of the Lord Chamberlain’s censorship.

    Sarah Kane’s texts become progressively more radical towards the end of her career, a factor that is explored through analysis of two of her texts, Phaedra’s Love and Crave. The underlying postdramatic tropes are explored with regard to Aristotle, in terms of how Kane challenges his assertions, and those of Hegel. Overall, it is asserted that Kane may be considered postdramatic through the arguments made, and that the Aristotle’s idea of catharsis, may also be present with in Kane’s texts in a postdramatic context.

    Item Type: Dissertation
    Departments/Research Groups: Faculty of Creative and Cultural Industries > School of Media and Performing Arts
    Depositing User: Jenni King
    Date Deposited: 05 Feb 2014 16:48
    Last Modified: 28 Jan 2015 12:33

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