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Sunday, 18 January 2009
In the most recent issue of the Brooklyn
Rail, Elana Greenfield, the Director of Artistic Programming at New Dramatists
from 1989 through 1996, remembers Sarah Kane's 1995 visit to New York during a Royal
Court Exchange between the London theatre and the New York service
organization. It's a rare look at Kane's only visit to these shores, and
Greenfield paints a sensitive portrait, especially about the rather
dismissive treatment she received from one of her collaborators at New
Dramatists, a director of one of her readings there. About Kane's work
itself, Greenfield writes:
In writing [her play] she had wandered unintentionally – from what
I know, she wrote what she saw just how she saw it (all any artist does)
and the fact is she did not dwell in that territory but quickly moved on
in her work – into what is usually male territory, and then turned
the rules of the territory on its head.
She took the glamour and titillation out of the construct, out of the
relationship as it's often presented, between sex and violence, and showed
it for what it is, a horror, and even more impressively in her play, she
managed to present the linking of sex and violence as a lamentable and
pathetic perversion of the human longing for kindness and perhaps
love.
She deprived people point blank of their daily poison and I guess they
were afraid they were going to die.
Read the entire article here.
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Superfluities
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George Hunka
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Theory and polemic
95 Sentences About Theatre (2007)
Organum I (2006-2007)
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II (2008-2009)
Critique of
Tragedy (2010-continuing)
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Je Suis
Sang
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Nonken
Saint Oedipus
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by George
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