4.48 Psychosis - download pdf or read online

By Sarah Kane

ISBN-10: 0413748308

ISBN-13: 9780413748300

4.48 Psychosis sees the final word narrowing of Sarah Kane's concentration in her paintings. The fight of the self to stay intact has moved in her paintings from civil struggle, into the kinfolk, into the couple, into the person, and at last into the theatre of phychosis: the brain itself. This play was once written in 1999 presently ahead of the playwright took her personal existence at age 28. at the web page, the piece feels like a poem. No characters are named, or even their quantity is unspecified. it can be a trip via one person's brain, or an interview among a physician and his patient.

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Additional info for 4.48 Psychosis

Example text

It must have impressed Grotowski significantly because, in these lectures, he spoke of it on numerous occasions. ” He compared this to things in nature which are expressive, but which don’t try to be: the movement of the ocean, or a tree, for example. He contrasted Decroux’s method with a more theatrical way of working, which had the audience in mind from the start (Grotowski 1997a). In a 1946 newspaper interview Decroux describes his way of working first for himself and not the audience: Beauty is like happiness, one must find it by the by, without looking for it.

After a while, you will become Thought. Emotion leads to motion, Thought begets immobility. ” These enigmatic guidelines intensified rather than dispelled uneasiness surrounding the conundrum of movement/immobility, making us think that, in these improvisations, we were damned if we moved and damned if we did not. After many years, tears, and discouragement, most eventually understood that state of being relaxed, yet alert, poised on the razor’s edge, separating movement from immobility. Until then, neither our movements nor immobilities partook enough of their opposite qualities.

Decroux the orator, the student of French literature, the politician, felt compelled to provide a commentary, an explication of the “text” the audience had just seen. He had a constant fear that audiences would not understand his work unless he somehow won them over, illuminating his method and also enabling them to see what he saw so clearly. Craig, reviewing the performance in “At Last a Creator in the Theatre, of the Theatre,” places Decroux in the forefront of postwar European work. I am tempted to believe that Mr.

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4.48 Psychosis by Sarah Kane


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