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Please note that print inspection copies are only available in UK and Republic of Ireland. For more information, visit our page. We currently support the following browsers: Internet Explorer 9, 10 and 11; Chrome (latest version, as it auto updates); Firefox (latest version, as it auto updates); and Safari (latest version, as it auto updates). Tell others about this book. About Crave Set in an unnamed city from which voices and images spring, Crave charts the disintegration of a human mind under the pressures of love, loss and desire 'A hugely unnerving theatrical experience, shot through with the language of the Bible and a genuinely poetic richness' (Time Out) 'A dramatic poem in the late-Beckett style, sometimes a chamber quartet for lost voices' (The Times) Produced by Paines Plough and Bright Ltd (Guy Chapman and Paul Spyker), Crave premiered at the Traverse Theatre for the 1998 Edinburgh Festival. It received its English premiere at the Royal Court Theatre in September 1998.
Blasted has been labelled as one of the landmark plays of post-war British theatre, achieving its iconic status and, indeed, its notoriety, very quickly. Sarah Kane's suicide in 1999 consolidated a process of singling-out that had begun four years earlier with the 'national outrage' initiated by the media's scandalised response to the premiere of Blasted. The brutal content of the play resulted in much-quoted hostility from the critics. Academic attention to the play has begun a process of re-evaluation, debating the production and reception of the play and key issues including its status as a classic example of 'in-yer-face' drama.
This guide provides a comprehensive critical introduction to Blasted, giving students an overview of the play's significance, a brief biography of Sarah Kane and a guide to socio-political background; a detailed analysis of the play's structure, style and characters; an analysis of key production issues and choices; an overview of key productions from the 1995 Royal Court premiere to today; and a chapter exploring possibilities and exercises for practical work on the play. An annotated guide to further reading highlights key secondary material including useful websites. 'An informative and vital exploration of Kane's play, its various contexts and wider theatrical possibilities. Helen Iball's characteristically smart and engaging analysis draws together different forms of knowledge of Blasted, and invites its reassessment as part of the properly and intrinsically revolutionary process that constitutes morally re-evaluative theatre practice.'
- Professor David Ian Rabey, Drama and Theatre Studies, Aberystwyth University, UK Mention -Book News, November 2008 'This accessible, student-friendly publication reminds us once again of Kane's status as a playwright with significant global impact' English Oxford Journal, 2010 Sarah Kane's Blasted 036 Briefly reviewed in the Year's work in English Studies journal, vol 89, No. 1 'This is the most ambitious treatment of the play to date in terms of both its analysis and revaluation of the play to date in terms of both its analysis and revaluation of the play and its inclusion of new interview material. Iball provides fascinating analysis of the play in terms of the importance that space within the hotel setting provides, and with it the body as another form of space that is marked out.'
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This article needs additional citations for. Unsourced material may be challenged and removed. (August 2008) Crave Written by Characters C, M, B and A Date premiered 13 August 1998 ( 1998-08-13) Place premiered, Original language English Setting Neutral Crave is a one-act play by British playwright.
Crave Sarah Kane Script
It was first performed in 1998 by the theatre company, with which Kane was writer-in-residence for the year, at the,. The play was initially presented under the pseudonym Marie Kelvedon; Kane used a pseudonym to avoid the distraction of her reputation for graphic staged violence from her previous works. Crave was Kane's fourth play. It is dedicated by the author to. Contents. Structure The play reflects a stylistic departure from Kane's previous works, using a non-linear, poetic style, and is notable for its lack of staged violence that had been a hallmark of the author's previous work; this style is continued in her next and final work,. The dialogue is intertextual, and often it is unclear whom each line is addressed to.
Much of the delivery of the text is left up to directorial interpretation. The author does not provide context, stage directions or descriptions of characters. The sex and gender of the four characters (A, B, C, and M) is only identifiable from context within the play.
Sarah Kane Crave
Themes and allusions Crave continues the theme of pain in love that Kane had explored with previous plays, but is stylistically a departure. The play contains several dark themes, presented as issues haunting the four characters. These themes include rape, incest, pedophilia, anorexia, drug addiction, mental instability, murder, and suicide. Kane incorporates numerous literary allusions in the text of the play, especially to.
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She also makes several references to biblical scripture, especially through the character of 'A'. 'Marie Kelvedon' The pseudonym 'Marie Kelvedon' was based on the village of, where Kane grew up. Kane included the following fictitious biography in the programme notes: Marie Kelvedon is twenty-five. She grew up in Germany in British Forces accommodation and returned to Britain at sixteen to complete her schooling. She was sent down from, after her first term, for an act of unspeakable in the college dining hall. She has had her short stories published in various European literary magazines and has a volume of poems Onzuiver ('Impure') published in Belgium and Holland.
Her debut was in 1996, a spontaneous happening through a serving hatch to an audience of one. Since leaving Holloway she has worked as a mini-cab driver, a roadie with the and as a continuity announcer for. She now lives in with her cat,.
Popular culture The lyrics to singer 's song 'An Echo, A Stain', released on the album in 2001, are based on this play. References.
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