Kane is therefore open to many possibilities for staging and design and the way actors deliver their lines. Several - seemingly detatched - conversations which blend together to create a story what Crave is is a puzzle for the audience - and if done correctly, or read correctly, each person will interpret her words as something completely different here is the crux. Reading Kane is like stepping into the head of a schizophrenic - especially 'Crave'. ![]() After watching a Kane play, or reading one, I guarentee that you'll never be the same again. What Kane did so marvolously and - fearlessly - is change the confines of traditional theatre. For example, "HURRY UP PLEASE, IT'S TIME" can be traced to T.S. A lot of the words can be traced back to Kane's favourite poems, and songs. The beauty of the words disguises the malice, the rage, and often the rawness beneath. To those who are new to Sarah Kane, Crave is about four "faceless" letters, (A,M,B,C)Who share a sort of "stream of conciousness" dialogue, better read as poetry. ![]() The intimacy of Crave is really what makes it so ground-breaking. As such, and as "In-Yer-Face" might imply, reading her plays might be looked at as an experience, rather than a play. Part of the "In-Yer-Face" Theatre movement, Kane's plays deal with sexuality, violence, abuse and insanity. ![]() Sarah Kane not only strove to change the way we see theatre but also to change it's possibilities.
0 Comments
Leave a Reply. |