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Your input will affect cover photo selection, along with input from other users. Aquests tres arguments, al costat del dolor, la crueltat, la tortura i l'amor, seran els seus eixos creadors. Acabava de complir 28 anys dues setmanes abans.

Listen to this article Thanks for reporting this video! For faster navigation, this Iframe is preloading the Wikiwand page for Sarah Kane. Our magic isn't perfect You can help our automatic cover photo selection by reporting an unsuitable photo. The cover is visually disturbing. The cover is not a good choice. Rich Minimal Serif. Justify Text. Note: preferences and languages are saved separately in https mode. Blasted en Cleansed en 4. Registres d'autoritat. GEC : Europeana : Credit: see original file.

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Obres destacables Blasted en Cleansed en 4.


sarah kane El-Amor-de-Fedra(1).pdf

The plays can be read as a constant search for what the limits of our humanity are, limits that are questioned through the medium of objects as representatives of the outside world. The study of things reveals first a constant retreat from realism through the use of objects as foils: the iconicity between the things on stage and the world is strongly put into question and is finally dispensed with. Secondly, this retreat accompanies the blurring of frontiers on all levels: the limits between the subject and the world, between the human and the non-human are undermined, a phenomenon that is highlighted through the reification of characters and language. Eventually, the transgression of frontiers allows for the juxtaposition of contraries which is analysed through the central figure of the oxymoron. While the first plays still stick to some realistic codes, the last plays give up any attempt at re-presentation, in the sense of making present, 2 that is not linked to language. She constantly tried to create strong images, first with all that the theatre could offer body language, props, set, lights, sounds and eventually through language and its deconstruction.


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