Sarah Kane was among the group when In-Yer-Face theatre as a new understanding emerged in 1990s England. The main problem of the artist who committed suicide at an early age was that he couldn’t accommodate the reality lived with the honor of the humanity. For him, the modernity, emerged with the claim to find the “lost paradise”, now became the killer of the humanity with the wars, destructions and the crisis. Experiencing the distress of existence deep inside, Kane wrote his plays in an extraordinary theatrical form with a postmodern outlook, which caused bitter criticism. However, the manner of the writer was – contrary to common belief- not to stage all kinds of sexuality and violence but to reveal the parody of a corrupt human condition that he couldn’t overcome. Striving for questioning and making sense of life with an existentialist manner, Kane, like many existentialists, focused on certain points: a ceaseless feeling of senselessness, an attempt of a pursuit, meaninglessness in every relation with human and entities, the explanation / inexplicableness of existence, suspended state of life, seeking for reality, the endeavor to change the dictated truth, and the tragic state stemming from it.Within this context, it is possible to define Kane’s plays as a postmodern expression of a writer suffering from ontological and existential twinges. It is possible to trace all these themes in his play Blasted.


Sarah Kane, in-Yer-Face, Blasted, Existentialism, Post dramatic theater

Author : Abdülhalim Aydın
Number of pages: 63-76
Full text:
The Journal of Social Sciences
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