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Blasted (Modern Plays) Paperback – 1 Jul 2003

4.2 out of 5 stars 16 customer reviews

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Product details

  • Paperback: 68 pages
  • Publisher: Bloomsbury 3PL; New edition edition (1 July 2003)
  • Language: English
  • ISBN-10: 0413766209
  • ISBN-13: 978-0413766205
  • Product Dimensions: 13.2 x 0.4 x 19.9 cm
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (16 customer reviews)
  • Amazon Bestsellers Rank: 54,947 in Books (See Top 100 in Books)

Product Description

Review

"I do not think I've yet seen a play that can beat Sarah Kane's sustained onslaught on the sensibilities for sheer unadulterated brutalism."--"Evening Standard"

I do not think I've yet seen a play that can beat Sarah Kane's sustained onslaught on the sensibilities for sheer unadulterated brutalism. "Evening Standard""

About the Author

Sarah Kane studied at Bristol and Birmingham universities. Recognised as a highly influential new vo ice in European theatre, her work was championed by the Royal Court. She died in February 1999, aged 28.


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Customer Reviews

4.2 out of 5 stars
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Top Customer Reviews

Format: Paperback
a great play which explores the limits of human brutality and violence (..they appear to be endless). Kane gives voice to a desperate generation who had a lot to say. This excellent play is a scream in our faces- a scream that shocks because its so true. The play has got two scenes (the 1st naturalistic and 2nd hyperrealistic- another thing that makes this play so unique) jumping from personal violence to the global violence of war. Saying that this play has gone too far is like denying all these things that we read in the newspapers everyday.
Kane's best play in my opinion!
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Format: Paperback
The play is a very quick read; a bit like a sharp punch to the stomach. Initially the play is quite simple: two lovers- a middle-aged man (Ian) and a twenty-one year old girl (Cate)- spend a night in a very expensive hotel in Leeds. Ian is cruel and disgustingly racist; Cate is cold and selfish. Were the play simply to stick to this, it'd be a rough enough night, but then the mysterious Soldier figure enters, bringing apocalyptic news and giving Ian the torture that he probably deserves.

It sets off a chain of disturbingly violent events, some of which would be pretty hard to stage convincingly. I don't know whether these incidents would look a bit Titus Andronicus-y in performance; the play is really a very interior one, giving us an insight into playwright Sarah Kane's mind. As you probably know, Kane committed suicide in 1999- four years after Blasted- and all her plays are coloured by her mental illness.

That's not to say that they are simply mad ravings. For all the violence in the play, there is a great deal of tenderness. These two broken people need each other and would probably be unable to connect with anyone other than each other. Not that they can romantically connect with each other; Cate is reluctant towards Ian and Ian sees her as a tease. Yet what really comes across is the sense that these two people know each other completely.

For me, it is this personal relationship that is the core of the piece. Critics argued that Kane was trying to make a naive and simplistic point about the nature of war, but I disagree. It's an attempt to rationalise what is a play all about people behaving irrationally. What it's really about is the atrocities that humans- particularly lovers- can inflict upon each other.
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By Mr. G. Morgan TOP 500 REVIEWER on 6 Nov. 2015
Format: Paperback
Some of the critical dust has settled but, unfortunately, Kane's suicide has, I think, prevented her from being placed securely in the pantheon since her work is unmissably replete with shock tactics and nothing like a consensus has emerged. Certainly she is preoccupied with violence in this tale of an unpleasant man and a young woman he has violated, then romances after his fashion. That the scene shifts their room to another place we can infer she really was disoriented by the Yugoslav civil war of the early 1990s. It seems she saw the minatory hand of another world war here, 'ethnic cleansing' in modern Europe, though how shock tactics help is hard to say since, as in his review (see below) Mr Murphy eloquently says, those not shocked are unlikely to see the play thus what is the point? A good question. There seems to be a nod in the direction of redemption in the Lear-like final scene but it is a curdled vision of death, decay, depravity and murder. I like reading her plays but she is the centre of a cult. There's excitement here alright, but to what end I am not sure. Catharsis? No, we are shoved too far in for that. Shame? Possibly, if we feel complicit. Finally I am left wondering what is drama for, if Kane is a great dramatist. In painting we had Goya, but he was a genius. Kane an enigma, a talent short-circuited. The play is tantalizing, it compels, but there is something unformed about her art and her purpose as a dramatist since one wants to know why she wishes to shock; it is not as if we are desensitized, as anyone who has seen a street-fight even yesterday well knows. We ARE shocked...the question about this in a play remains, to what purpose?
A suggestive name, for sure though.
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Format: Paperback
This contains the dark provacative illustration of love. The scene is based in a Hotel room. There are various violent moments including rapes,alcoholism, cannabilsm, mental and emotional rollercoaster rides.This play has sickened many viewers who had watched the play or have studied this in education.Shocking as it maybe it does however provide insight to the reality of wars and what have taken place. It also portrays loyalty, insecurity and endurance. It is a great play to critically analyse and with great depth. Beneath the shock is more than you had bargained. It is best to keep an open mind before making any immediate judgements. The play is highly commendable as it should be.
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Format: Paperback
Throughout Kane's brief career, her theatrical works were heavily criticised for being inhuman, crude and downright nasty. Reading 'Blasted' with this bias in mind, it is easy to label the script as intolerable, with its consistent expletives, references to rape, defacation, brutality, sodomy and cannibalism.
However, read with an open mind and dismiss the opinions of these narrow minded judges of the mid nineties. Believe me, 'they know not what they say'. Sarah Kane's 'Blasted' holds an almost magnetic power that prevents the reader from putting the book down. Her characters, the sadistic Ian, the naive Cate and the unknown terrifying figure of the soldier are all painful in their intensity of portrayal, and the brutality is all necessary in conveying the sense of hopelessness and despair. It is a play designed to reflect upon our era, it is relevant, and in places it is even witty. What more could one ask from a script?
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