Psychophysical Acting is a direct and vital address to the demands of contemporary theatre
on today's actor. Drawing on over thirty years of intercultural experience, Phillip Zarrilli aims …

In this article David Barnett investigates the ways in which plays can be considered
'postdramatic'. Opening with an exploration of this new paradigm, he then seeks to examine …

A curious blind spot remains in the critical response to Sarah Kane's Blasted: the rape of
Cate by Ian. In a play famous for its onstage violence, why is this rape, one of its pivotal …

This essay argues that critical emphasis on the autobiographical connections in Sarah
Kane's 4.48 Psychosis threatens to oversimplify the play's wider significance. The essay re …

Aesthetic disgust is a key component of most classic works of drama because it has much
more potential than to simply shock the audience. This first extensive study on dramatic …

18) Trauma we are told is a perpetual present, resilient in its persistence and timeless
occupation of a subject who does not and cannot know it. It happened but I do not know it …

This chapter is an introduction to the study of Sarah Kane's Blasted. It explains why the play
is important, gives a sketch of its author's life and discusses the social, economic and …

Kane's Blasted, first performed at the Royal Court Theatre in London in January 1995. 1 The
violence was pervasive, the structure seemingly incoherent, the purpose elusive. Critics …

The theatricality of the psychotherapeutic encounter has been evident since its origins:
Freud complained in 1914 that the patient in the grip of transference-love “gives up her …

Julia Kristeva's notion of the abject is well suited to describe the gruesome actions that occur
in Sarah Kane's debut play Blasted. Applying Kristeva's psychoanalytical approach serves to …