Lauren de Vos is a Lecturer in Comparative Literature at Ghent University. Graham Saunders is a Lecturer in Theatre Studies at the University of Reading.

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• ContentsIntroduction(Laurens De Vos and Graham Saunders)Part I: Surrounding Voices1. Reviewing the fabric of Blasted(Elaine Aston)2. Sarah Kane before Blasted: the monologues(Dan Rebellato)3. ‘Looks like there’s a war on’: Sarah Kane’s Blasted, political theatre and the Muslim Other(Aleks Sierz)4. Staging Power: the politics of sex and death in Seneca’s Phaedra and Kane’s Phaedra’s Love(Zina Giannopoulou)5. The Beckettian world of Sarah Kane(Graham Saunders)6. Cruelty, violence and rituals in Sarah Kane’s plays(Stefani Brusberg-Kiermeier)7. Sarah Kane, experiential theatre and the revenant avant-garde(Clare Wallace)Part II: Subjectivity, Responsibility and Representation8. 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 Kane’s work(Annette Pankratz)13.‘Victim. Perpetrator. Bystander’: critical distance in Sarah Kane’s Theatre of Cruelty(Hillary Chute)14. Sarah Kane’s Phaedra's Love: staging the implacable(Peter A. Campbell)15. Under the surface of things. Sarah Kane’s Skin and the medium of theatre(Mateusz Borowski) 16. ‘We are anathema’ – Sarah Kane’s 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

Lauren de Vos is a Lecturer in Comparative Literature at Ghent University. Graham Saunders is a Lecturer in Theatre Studies at the University of Reading.

Select Guide Rating

• ContentsIntroduction(Laurens De Vos and Graham Saunders)Part I: Surrounding Voices1. Reviewing the fabric of Blasted(Elaine Aston)2. Sarah Kane before Blasted: the monologues(Dan Rebellato)3. ‘Looks like there’s a war on’: Sarah Kane’s Blasted, political theatre and the Muslim Other(Aleks Sierz)4. Staging Power: the politics of sex and death in Seneca’s Phaedra and Kane’s Phaedra’s Love(Zina Giannopoulou)5. The Beckettian world of Sarah Kane(Graham Saunders)6. Cruelty, violence and rituals in Sarah Kane’s plays(Stefani Brusberg-Kiermeier)7. Sarah Kane, experiential theatre and the revenant avant-garde(Clare Wallace)Part II: Subjectivity, Responsibility and Representation8. 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 Kane’s work(Annette Pankratz)13.‘Victim. Perpetrator. Bystander’: critical distance in Sarah Kane’s Theatre of Cruelty(Hillary Chute)14. Sarah Kane’s Phaedra's Love: staging the implacable(Peter A. Campbell)15. Under the surface of things. Sarah Kane’s Skin and the medium of theatre(Mateusz Borowski) 16. ‘We are anathema’ – Sarah Kane’s 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

Lauren de Vos is a Lecturer in Comparative Literature at Ghent University. Graham Saunders is a Lecturer in Theatre Studies at the University of Reading.

Select Guide Rating

• ContentsIntroduction(Laurens De Vos and Graham Saunders)Part I: Surrounding Voices1. Reviewing the fabric of Blasted(Elaine Aston)2. Sarah Kane before Blasted: the monologues(Dan Rebellato)3. ‘Looks like there’s a war on’: Sarah Kane’s Blasted, political theatre and the Muslim Other(Aleks Sierz)4. Staging Power: the politics of sex and death in Seneca’s Phaedra and Kane’s Phaedra’s Love(Zina Giannopoulou)5. The Beckettian world of Sarah Kane(Graham Saunders)6. Cruelty, violence and rituals in Sarah Kane’s plays(Stefani Brusberg-Kiermeier)7. Sarah Kane, experiential theatre and the revenant avant-garde(Clare Wallace)Part II: Subjectivity, Responsibility and Representation8. 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 Kane’s work(Annette Pankratz)13.‘Victim. Perpetrator. Bystander’: critical distance in Sarah Kane’s Theatre of Cruelty(Hillary Chute)14. Sarah Kane’s Phaedra's Love: staging the implacable(Peter A. Campbell)15. Under the surface of things. Sarah Kane’s Skin and the medium of theatre(Mateusz Borowski) 16. ‘We are anathema’ – Sarah Kane’s 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