Essays
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Köp båda 2 för 692 krLauren de Vos is a Lecturer in Comparative Literature at Ghent University. Graham Saunders is a Lecturer in Theatre Studies at the University of Reading. -- .
Contents Introduction (Laurens De Vos and Graham Saunders) Part I: Surrounding Voices 1. Reviewing the fabric of Blasted (Elaine Aston) 2. Sarah Kane before Blasted: the monologues (Dan Rebellato) 3. Looks like theres a war on: Sarah Kanes Blasted, political theatre and the Muslim Other (Aleks Sierz) 4. Staging Power: the politics of sex and death in Senecas Phaedra and Kanes Phaedras Love (Zina Giannopoulou) 5. The Beckettian world of Sarah Kane (Graham Saunders) 6. Cruelty, violence and rituals in Sarah Kanes plays (Stefani Brusberg-Kiermeier) 7. Sarah Kane, experiential theatre and the revenant avant-garde (Clare Wallace) Part II: Subjectivity, Responsibility and Representation 8. The voice of Kane (Ehren Fordyce) 9. I love you now: time and desire in the plays of Sarah Kane (Robert I. Lublin) 10. Sarah Kane and Antonin Artaud: cruelty towards the subjectile (Laurens De Vos) 11. Posthumanist identities in Sarah Kane (Julie Waddington) 12. Neither here nor there: theatrical space in Kanes work (Annette Pankratz) 13.Victim. Perpetrator. Bystander: critical distance in Sarah Kanes Theatre of Cruelty (Hillary Chute) 14. Sarah Kanes Phaedra's Love: staging the implacable (Peter A. Campbell) 15. Under the surface of things. Sarah Kanes Skin and the medium of theatre (Mateusz Borowski) 16. We are anathema Sarah Kanes plays as postdramatic theatre v. the Dreary and repugnant tale of sense (Eckart Voigts-Virchow) Epilogue The mark of Kane (Edward Bond) References List of Contributors Index -- .