Eliot's The Waste Land, while displaying Kane's biting sense of humor. Kane's writing, as even her critics would admit, was haunting and lyrical, garnering comparisons to late Beckett and T. Devoid of stage directions, the play achieves a careful balance between sparse dialogue, often directed at the audience, and lengthy monologues. However, a different Kane emerged with her next play.Д¬rave (1998) is a poetic drama in which four speakers, two men and two women named A, B, C and M respectively, muse on the turmoil of loss and desire. The press quickly dubbed Kane, Mark Ravenhill ( Shopping and Fucking), and Martin McDonagh ( The Beauty Queen of Leenane) as the 'New British Nihilists.' Kane's first play Blasted (1985), featuring scenes of cannibalism and sodomy, was made infamous by the Daily Mail's Jack Tinker who called it 'a disgusting piece of filth.' The play quickly became a media event, and in the debacle the play's investigation of violence and gender was largely lost in a debate centering on the Royal Court's right to stage a play which, according to Tinker and others, 'knows no bounds of decency.' Kane continued to explore the violence of authority and institutions in the plays that followed: Phaedra's Love (1996), her adaptation of Seneca and Cleansed (1998). Kane was something of the enfant terrible of contemporary British theatre, emerging in the flurry of exciting mid-1990s theatre. It is fitting, given the ironies and contradictions of her brief yet impressive career, that Sarah Kane would receive her official introduction to US audiences in a play she wrote under a pseudonym. In lieu of an abstract, here is a brief excerpt of the content:

Crave sarah kane script pdf