I suppose this is an example of the biographical fallacy in reverse. Aleks Sierz borrowed the tape and transcribed it when researching In Yer Face Theatre (2002) and it is quoted extensively throughout Graham Saunders's 'Love Me Or Kill Me': Sarah Kane and the Theatre of Extremes (2002). During the interview, at around 39', Sarah explains the difference between plot and story in relation to Blasted and Cleansed. The point of the show is for your own imagination and your own emotions to do the work. Everyone I spoke to remembers a moment at the very end of the performance, where after the play’s haunting final line, “please open the curtains”, Evans and McInnes opened a window in the roof of the theatre, allowing the June night to flood into the silence. To explain it visually, she grabbed my questions from me and drew a diagram on the back. In fact, when I’d spoken to her on the phone to arrange the meeting, she laughed: “I seem to be meeting a lot of middle-aged men recently.”. After the interview, we were in my office at Royal Holloway. It will be very intense and will affect each member of the audience differently. It’s not lyrical but acted as it would be on a stage with the actors interacting with each other via the text. She said, ‘I’m not going to tell you, I’m not going to tell anyone ever.’”. It’s an opportunity to experience a truly unique and very powerful piece of theatre. The sound is not meant to overwhelm the text but to guide the audience through it. Her plays deal with themes of redemptive love, sexual desire, pain, torture — both physical and psychological — and death. Be the first one to write a review. I arrived early, and remember standing apprehensively at the bar — I was a bit tense, a bit nervous. It is the work of a director who has come into her full powers and has nothing left to prove. Joanna has experience in audio installation and is particularly influenced by the visceral use of sound. “It was probably some strange coping mechanism. Now, she was a secular saint. Sarah Kane Interview, conducted by Dan Rebellato on 3 November 1998 Addeddate 2009-12-24 20:49:36 External_metadata_update 2019-04-13T03:52:14Z Identifier SarahKaneInterview. 198-208). Designer Jeremy Herbert created a setting that was as stark as the text, a single large mirror suspended at a 45-degree angle over a plain white floor – visually elegant, but also a metaphor for the script’s prism of multiplying personalities. The OCI should be a force for good for all sport in Ireland. When Sarah Kane was still alive, it was vital to support her work — her style was so raw, so provocative and so innovative that many critics simply didn’t get it. Part of the reason I wanted to explore the text in this way was for people to go through it with the characters, to feel vulnerable, to feel as though they are hearing voices, to feel alone in the dark. We met at SW9 because Kane lived just around the corner in a flat which she shared with her friend David Gibson at 6A Bellefields Road. It would also become more legible, as an expression of anxiety: that the prosperous peace here and the civic collapse there are somehow linked, perhaps even causally. Of course, Kane understood that you can feel a sexual or a violent desire without necessarily acting on it. In 1995, Blasted was a play that connected the ordinary, everyday life in the UK, marked by hooliganism, lad culture and post-Thatcherism, to the atrocities of war in former Yugoslavia, a war which was schizophrenically experienced in Western Europe as both geographically close and unfathomably distant. Pip Donaghy and Kate Ashfield in Blasted at the Royal Court in 1995. It’s hard hitting in an emotional sense and I expect it to have a very visceral affect on the audience. It is 75 minutes long and I haven’t made any edits. The first run sold out, with queues around the block for returns. If so, you’ve come to the right place. “Go on,” he’d said, “ask me anything.”. Before it went on show to the critics and the public, 4.48 played in front of an invited audience – family and friends, colleagues, and fellow playwrights, among them Harold Pinter and Joe Penhall. So it was important to support her, almost without question. She told me two anecdotes about life in Brixton. A London based artist called Joanna Ishikawa is putting the ambient sound together according to direction. Kane made it clear that she had not only very much completed 4.48, having worked on it for much of 1998, she wanted it to be staged. With the emphasis on performing in darkness, how does the show take shape in terms of cast, characters and narrative? Vince O’Connell, Kane’s friend and mentor, tells me that she became a Man United fan at a time when the team was not doing very well: “I took her to her first ever football match, at Old Trafford, where United lost 1-0 to Tottenham. The play itself seemed to foreshadow events with uncanny accuracy. The play is not grounded in any one era so it can’t ‘date’ as such. You can hear it below. ( Log Out /  And there is life after death.”. Save my name, email, and website in this browser for the next time I comment. Planning to study playwriting at Birmingham, she was compelled to pay a small sum for private health insurance. Like most people, Kane was a complex and occasionally contradictory human being: equally capable of being polite and aggressive, of being an introverted garret writer and an extrovert fun-loving woman, of loving moody, doomy music and supporting Man United, a colourful club, a winner’s club, of talking about “sucking gash” and of longing for love and tenderness, by turns honest, perceptive, provocative, sentimental and, yes, quite in-yer-face. I told her that only a couple had left, but that many people had giggled nervously during the evening. For a while I was shocked and couldn’t write any more about her, and even wondered whether to put her chapter in the past tense. “I don’t find my plays depressing or lacking in hope,” she said. Interestingly, even though Kane’s later works, plotless and poetic, are considered to be the “hard” ones, they all seem to get staged more often than Blasted. “Sometimes I had no idea what it was about. Did this text appeal in the light of the heightening profile of mental health awareness? “At the time, the last thing I would have wanted to say is that it’s a suicide note – I knew it wasn’t just that, that was the point.

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