RT Generic
T1 Postdramatic theatre and the Work of Sarah Kane - Language and form
A1 Rey Pimenta, María Emilia
K1 Kane, Sarah
K1 Teatro postdramático
K1 Postdramatic theatre
AB This graduation assignment, based on the notion of a new theatrical form that Germantheatre researcher Hans-Thies Lehmann (1999) called postdramatic theatre, will beaddressing the characteristics of the work of English playwright Sarah Kane that coincidewith the postdramatic aesthetics. A few concepts about theatre throughout history will beexplained, and a few facts about Sarah Kane's life will be mentioned, as well as the scarcework that she produced in her short life. Postdramatic theatre disrupts the logic of thelanguage and the audacity of the staging of Sarah Kane's plays attacks the spectator, pullinghim out of the comfort zone, questioning and sometimes destabilizing the audience. The ideaof the postdramatic theatre as the theatre of performance, not just drama as literature will be also developed. A quick view of the “prehistory” of postdramatic theatre, the previousplaywrights of the movement, and the kind of theatre produced will be displayed throughoutthe essay. Even though Sarah Kane's last two plays, Crave (1998) and 4.48 Psychosis (1999, premiered posthumously in 2000) are more paradigmatic of postdramatic theatre aesthetics – in the words of Hans-Thies Lehmann himself in his “Preface to the English edition” of his book Postdramatic Theatre: “4.48 Psychosis by Sarah Kane would almost have to beinvented as one of the great texts in analogy to postdramatic theatre if it did not already exist.” (2006, p. ix) –, the plays that will be studied in this assignment are Kane's first three plays, Blasted, Phaedra's Love and Cleansed. The use of the text in these three plays can be seen in the light of a postdramatic context, where different aesthetic variables, apart from the text itself, interact to create the theatrical work.
AB Este traballo de graduación, baséase na noción dunha nova forma teatral que o investigador do teatro alemán Hans-Thies Lehmann (1999) chamou "teatro postdramático", abordará as características do traballo da dramaturga inglesa Sarah Kane que coinciden coa estética postdramática. Algúns conceptos sobre teatro ao longo da historia serán explicados e mencionaranse algúns feitos sobre a vida de Sarah Kane, así como os escasos traballos que ela produciu na súa curta vida. O teatro postdramático perturba a lóxica da linguaxe e a audacia da posta en escena das pezas de Sarah Kane ataca ao espectador, obrigándoo a saír da zona de confort, cuestionando e ás veces desestabilizando o público. A idea do teatro postdramático como teatro de "performance", non só de drama como literatura será tamén desenvolvido. Darase unha rápida visión da "prehistoria" do teatro postdramático. Aínda que as últimas dúas obras de Sarah Kane, "Crave" (1998) e 4.48 "Psychosis" (1999, estrenadas póstumamente en 2000) son as máis paradigmáticas da estética postdramática do teatro -en palabras do propio Hans-Thies Lehmann no seu "Prefacio á edición inglesa" o seu libro Postdramatic Theatre: "4.48 A psicosis de Sarah Kane case tería que ser inventado como un dos grandes textos en analogía ao teatro postdramático se aínda non existía. "(2006, p. ix) -, as obras que serán estudadas neste traballo son as tres primeiras obras de Kane, "Blasted", "Phaedra's Love" e "Cleansed" . O uso do texto destas tres obras pode verse á luz dun contexto postdramático, onde as distintas variables estéticas, ademais da texto en si, interactúan para crear o traballo teatral.
YR 2017
FD 2017
LK http://hdl.handle.net/10347/18321
UL http://hdl.handle.net/10347/18321
LA eng
NO Traballo Fin de Grao en Lingua e Literatura Inglesas. Curso 2016-2017
DS Minerva
RD 22 abr 2026