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Blasted & Phaedra's Love, by Sarah Kane
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A two-play volume comprising works from the controversial playwright, Sarah Kane. "Blasted" is a vision of war in contemporary Europe, which premiered at the Royal Court Theatre in 1995. "Phaedra's Love" is Kane's reworking of Racine's classical French tragedy of incest and unrequited love.
- Sales Rank: #1082636 in Books
- Published on: 1996-11-11
- Released on: 1996-11-11
- Ingredients: Example Ingredients
- Original language: English
- Dimensions: 7.76" h x .31" w x 4.96" l,
- Binding: Paperback
- 96 pages
Most helpful customer reviews
2 of 3 people found the following review helpful.
Ugh.
By A Customer
They tell me that Sarah Kane made quite a stir in British theatre before her untimely suicide in 1999. Given the undeniable intensity of "Blasted," not to mention the in-your-face subject matter, it's not difficult to see why. I think Kane had at least some talent, but the modest technical skill she brings to this play is definitely overwhelmed by the unpleasantness of the material. Really, "Blasted" is just that old Theatre of the Absurd shtick--you know: "The world is a crazy, horrible place but it's all we have"--updated for somewhat more permissive 1990's audiences; no one familiar with the best plays of Beckett, Pinter, or Stoppard should be terribly impressed by it. The companion piece, "Phaedra's Love," is more of the same, only lacking the questionable merits of the first play. In fact, "Phaedra's Love" is flat-out awful, strongly suggesting that Kane had really very little to say. But that's often how it goes with would-be rebels in the arts.
0 of 9 people found the following review helpful.
Rebuttal
By A Customer
Kane's work is self-indulgent pap, and the fact that anyone is compelled to perform such dross, much less attend a performance thereof, is as worthy of ridicule as any clown or village idiot. The supposed shock value such pornography displays is imaginary in the minds of those who pathetically but desperately seek attention through such antics as a child screaming at the top of his lungs to be heard by an unattentive mother. To the rest of the world it may disgust us, but it fails to shock us only precisely because that is what it is so desperately trying to do. The cry for attention becomes sad, pathetic and, eventually, compells us to disregard it as the most microscopic, unimportant and, thus, most easily disregarded distraction in a world otherwise filled with beauty, challenge and potential.
Canada reveals his/her shallow obsession, by the religious overtones to his/her review. The myth of religion, any religion, my friend, is as constricting to your intellect (what little of it there is) as is the works of Kane and others like her. How much more peace and love can the world stand? It's cup is nearly empty as it is, so I would say a nearly infinite amount. As to Kane and others like her, the eradication of their work through death is the only value their life will ever bring to anyone. How ironic that the only gift they bring to us is their own death, when the we all would have been better off had they never existed in the first place. Kane and artists like her are among the most compelling arguments in favor of abortion.
5 of 7 people found the following review helpful.
Her voice will go on
By J D Cully
These, the first two plays by Sarah Kane, the most brilliantly original voice of 1990s theatre, are essential. Blasted captures the full horror of contemporary war and socks home scalpel-sharp observations about life, abuse of all kinds and extreme despair, yet finds some compassion amid it all. Phaedra's Love is a majestic macabre comedy, a re-working of the Greek tragedy of Phaedra, yet again with serious points to make about obsessive love, extreme boredom and hypocrisy.
Sarah's work will live on for centuries, both through performances of her own plays and through the new writers influenced by her who are already emerging.
I met Sarah twice, and she was a very lovely lady, so may you die horribly, Colorado, you scum.
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