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Sarah Kane has been so far evaluated as one of the In-Yer-face playwrights who helped re-vibrate the British theatre in the 1990’s. She and her works have been rarely viewed in relation to women-specific orientation. Kane herself denied any responsibility as a woman playwright. However, recent studies began to approach her works from a re-newed women-centered point of view. This article aims to re-visit and re-interpret Sarah Kane’s two plays Blasted and 4.48 Psychosis from a post-modern/ third-wave feminist point of view, focusing on ‘the new structure of feelings’ which according to Elaine Aston, most of male critics failed to capture in their endeavors to read her only as an shockfest extreme-ist. It also attempts to trace the influences of the second feminist legacy on Kane and furthermore differentiate Kane’s original creativity concretized in her postdramatic dramaturgy.
The findings of this article indicate that the ultimate significance and meaning of her politics of negation ironically projects hope and love for all humanity in this contemporary world.
The findings of this article indicate that the ultimate significance and meaning of her politics of negation ironically projects hope and love for all humanity in this contemporary world.
목차
Ⅰ. 사라 케인에 대한 새로운 페미니즘 시각의 재평가
Ⅱ. 감성과 ‘분노’에 대한 포스트 여성주의적 재탐구
Ⅲ. ‘새로운 감성구조’ 실험극 드라마투르기
Ⅳ. ‘분노’의 실험극적 드라마투르기: 『폭파』
Ⅴ. ‘분노’의 포스트 드라마틱 드라마투르기: 『4.48 정신병』
Ⅵ. 거부의 미학과 변화의 희망적 비전
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UCI(KEPA) : I410-ECN-0101-2013-842-003252190