Kill Me Sara Kill Me Again With Love

English playwright

Sarah Kane
Born	(1971-02-03)3 February 1971 Brentwood, Essex, UK
Died	20 February 1999(1999-02-20) (anile 28) Camberwell, London, UK
Occupation	Dramatist, theatre managing director
Language	English
Alma mater	University of Bristol (BA) Academy of Birmingham (MA)
Literary movement	In-yer-face theatre
Notable works	Blasted (1995) Skin (1995) Crave (1998) 4.48 Psychosis (2000)

Sarah Marie Kane (iii February 1971 – 20 February 1999) was an English playwright, screenwriter and theatre manager.

Overview [edit]

She is known for her plays that bargain with themes of redemptive honey, sexual desire, pain, torture—both physical and psychological—and death. They are characterised by a poetic intensity, pared-downwards linguistic communication, exploration of theatrical form and, in her earlier work, the use of extreme and violent stage action.

Kane herself and scholars of her work, such every bit Graham Saunders, have identified some of her inspirations as expressionist theatre and Jacobean tragedy.^[ane] The critic Aleks Sierz saw her work equally office of a confrontational style and sensibility of drama termed "in-yer-face theatre". Sierz originally called Kane "the quintessential in-yer-face writer of the [1990s]"^[2] simply subsequently remarked in 2009 that although he initially "idea she was very typical of the new writing of the middle 1990s. The farther nosotros become away from that in time, the more un-typical she seems to be".^[iii]

Kane's published work consists of 5 plays, the short film Pare, and ii newspaper articles for The Guardian.

Life [edit]

Born in Brentwood, Essex, and raised by evangelical parents, Kane was a committed Christian in adolescence. Later, yet, she rejected those beliefs. Afterwards attending Shenfield High School she studied drama at Bristol University, graduating in 1992, and went on to take an MA course in play writing at the University of Birmingham, led past the playwright David Edgar.^{[1] [4]}

She praised Jeremy Weller's Mad every bit "the one piece of theatre that inverse my life".^[5]

Kane wrote consistently throughout her adult life. For a year she was author-in-residence for Paines Plough, a theatre company promoting new writing, where she actively encouraged other writers.^[6] Before that, she had worked briefly as literary associate for the Bush-league Theatre, London.

Depression and suicide [edit]

Kane struggled with astringent depression for many years and was twice voluntarily admitted to the Maudsley Hospital in London.^[7]

She took antidepressants with reluctance. According to Kane'due south agent, Mel Kenyon, Kane told her "she didn't like taking pills because they numbed her response to the globe, which is, of course, what they're supposed to do. But as an artist, it's extraordinarily difficult if your responsive level is made less intense. What practice yous do? Have pills and take away the despair? Simply despair besides engenders noesis in some way, and that knowledge fuels your understanding of the earth and therefore your writing, but at the same time yous want to bewitch the despair. She tried to weigh it up all the time."^[viii]

Whilst talking about how her play Phaedra'southward Love deals with the theme of depression, Kane said that "[t]hrough being very, very low comes an ability to live in the moment because there isn't anything else. What practice you do if you feel the truth is backside yous? Many people experience depression is about emptiness but really information technology's virtually being so full that everything cancels itself out. Y'all can't have faith without dubiousness, and what are you left with when you can't have love without hate?"^[9]

Offset suicide attempt and subsequent hospitalisation [edit]

In the early hours of 17 February 1999, Kane in her Brixton flat attempted suicide by taking 50 sleeping pills and over 150 antidepressant tablets.^[10] Her flatmate, David Gibson, awoke and plant a suicide note from her, stating that he was non to enter her room. Ignoring this request, Gibson entered Kane'south room where he institute her to be unconscious.^[11]

Kane was and so taken to London'southward King's College Hospital where she was resuscitated and assessed by two psychiatrists. One of the psychiatrists, Nigel Tunstall, said that "information technology was very clearly the case that [Kane] was intending to impale herself and she was surprised and upset that she had not succeeded" and that she "said she had no intention of killing herself while she remained at King'due south Higher Hospital, but in abstract terms she said that at some point she would certainly kill herself."^[eleven] Considering of this, Dr Tunstall ordered that Kane should be detained under the Mental Health Act if she attempted to go out the hospital.^[10]

Kane was admitted to the Brunel ward of the King'south College Hospital,^{[x] [11]} which was a general ward and non a psychiatric wing.^[7]

While in hospital, she was visited by her agent Mel Kenyon. Kane told Kenyon that her attempted suicide by overdose had been unsuccessful because she had eaten pizza.^[8] Kenyon recalled that when she visited Kane "She was boggling. She looked happy, salubrious. She was very funny. She was brimming with cocky confidence. I took her 200 cigarettes which we hid under the bed. Nosotros talked virtually everything nether the lord's day. We did talk nigh suicide. We did talk about God. Nosotros did talk about plays. We did talk most friendship.[…] And then subsequently I had given her the fags I just kissed her on her brow and I said 'I love you lot' and she said 'I dear you too' and that was the final time I saw her."^[12]

Suicide [edit]

Presently subsequently 3:30am on xx February a nurse discovered that Kane was not in her hospital bed. The nurse forced open up the door to the Brunel ward's toilets where she establish Kane'south expressionless body. Kane had been hanged by her cervix with her own shoelaces from the hook on the inside of the toilet door. She was 28 years old when she died. At the inquest into her death, it was stated that she probably died within three minutes.^{[13] [10] [xiv]}

Coroners court inquest [edit]

An inquest was held at Southwark coroner's court to determine the circumstances that resulted in Kane's decease.^[10]

The coroner delivered a verdict of death by suicide. The coroner commented that Kane "was plagued with mental anguish and tormented past thoughts of suicide" and that she "fabricated her choice and she fabricated it at a time when she was suffering from a depressive illness [and while] the rest of her mind was disturbed".^[10]

The inquest heard how Kane had not been observed by nurses betwixt 2am and 3:30am on 20 February, which was the timeframe when she left her room in the hospital and went to the toilets where she killed herself. One of the psychiatrists who assessed Kane, Dr Nigel Tunstall, told the inquest how he "took it as read" that Kane would be "constantly observed" past nurses because of the notes from psychiatrist Dr Sedza Mujic who had also assessed Kane.^[10] Nonetheless, nurses were unaware that Kane needed continuous supervision.^{[11] [ten]} Dr Tunstall also wrote in his notes that Kane did non require one-to-one care from a psychiatric nurse. It was stated that one of the reasons this was non requested was because information technology was felt that such a mensurate could be counter-productive, as Kane was ambivalent towards psychiatric handling.^[eleven]

A review console that investigated Kane's death recommended that the advice between medical staff be improved past formalising the procedures that related to the risk assessment of patients. However, a spokesperson from the hospital said that none of these procedures would accept prevented her decease.^[10]

Subsequently the inquest Sarah Kane'due south father, Peter Kane, considered taking legal action against the hospital for "criminal negligence".^[13] He stated that "The hospital has admitted at that place was not plenty advice between the doctors of these departments and the nurses" and that "I am non seeking financial compensation for the death of my daughter. I want answers equally to why she was not given proper intendance in order that this does non happen to somebody else'due south daughter."^[10]

Responses to Kane's decease [edit]

It has been reported that in response to Kane's death at that place was a infinitesimal's silence held on radio in Germany^[fifteen] and that theatres in the state dimmed their lights as a mark of respect.^[16]

Kane's agent, Mel Kenyon, stated that "I don't think she was depressed, It was deeper than that. I recall she felt something more like existential despair – which is what makes many artists tick."^[17] Kenyon's words were challenged by playwright Anthony Neilson who In a letter to The Guardian wrote that "No 1 in despair "ticks"" and that "Truth didn't impale her, lies did: the lies of worthlessness and futility whispered past an afflicted brain". Neilson suggested that Kane'south low was the result of "crazy and irregular tides of chemicals that crash through the brain" and that "Far from enhancing talent these neurological storms waste product time, narrow vision and ofttimes atomic number 82, every bit here, to that almost tragic, most selfish actions".^[18]

Eight days after Kane's decease The Independent published an essay written by Paul Gordon titled "You don't accept to be suicidal to be an artist, and information technology doesn't help". In the essay Gordon commented on the negative impact of how "our culture romanticises creativity and low". He wrote that "The tragic suicide of the young playwright Sarah Kane is already finding its identify in the mythology of the artistic depressive: the creative person - immature or one-time, but preferably young - who creates public beauty out of personal suffering." He concluded his piece writing that "Just those who knew Sarah Kane personally can mourn her. Perhaps the rest of us could be less in thrall to the romantic ideas of which her death is prey and think more of the thousands of "nameless" suicides whose deaths each yr shames usa, as individuals and as a social club."^[19]

The playwright Harold Pinter knew Kane personally and remarked how he was not surprised to hear the news of her suicide: "She talked most information technology a great deal. She just said it was on the cards, you know, and I had to say, 'Come up on! For God'south sake!' I remember a line in [her play] Crave: 'Death is my lover, and he wants to move in.' That'south quite a line, isn't it? She felt man'due south inhumanity to human and so profoundly. I believe that's what finally killed her. She couldn't stand up the bloody affair whatever more."^[viii] Pinter spoke at Kane'due south memorial and is reported to take just said the following four words: "She was a poet".^[20]

The artistic managing director of The Bush Theatre, Dominic Dromgoole, had previously known Kane when she was the theatre's literary associate. Dromgoole wrote that Kane's death "left a long black cloud hanging over many. A huge amount of acrimony was felt. Anger at her for robbing us of what nosotros then loved. Anger at those who maltreated her. […] acrimony directed inward for failing to help her." Dromgoole wrote that he was angry with how Kane had been mistreated by others. He stated that this acrimony was not aimed at "the press" who he saw equally being "held up so easily as scapegoats" but rather information technology was directed at "certain people in the profession" who he claimed to accept taken advantage of her: "There were a lot of timid souls who dared non, who forced Sarah to cartel on their behalf. She enacted their fantasies of outrage for them. There is always one child in the form who volition do the things others fear to. That is what marks them out, their courage, and their will. The good friends of that kid volition help her to harness information technology for her own do good. The bad friends volition use it as a form of amusement. 'Go on, jump over that', 'Say that to the bully', 'Go on cut yourself'. Sarah was that child, and where some reigned her back, others allow her go, fifty-fifty encouraged her." He also said that "Nosotros all behaved a chip strangely afterward Sarah's death. It awoke old despairs, and morbidities, and adolescent terrors."^[21]

The playwright Edward Bail knew Kane personally and had a correspondence with her. Bond has referred to Kane's suicide in various essays he has written most theatre. In an essay from 1999 (revised in 2000) Bail wrote "Sarah Kane had to confront the implacable. You can postpone the confrontation simply when you are certain that at some fourth dimension it will take identify. Otherwise it will sideslip away. Everything Sarah Kane did had authority. If she thought that perhaps the confrontation could not take place in our theatre, because it was losing the understanding and the means – she could not risk waiting. Instead she staged it elsewhere. Her means to face up the implacable are death, a lavatory and shoelaces. They are her comment on the meaningless of our theatre and our lives, and on our own false gods." In 2000 Bail wrote that "Her suicide has to be understood. She was the almost gifted dramatist of her generation. It is said that she killed herself because she was clinically depressed. What does that mean of a writer? Not that her expiry had a cause, but that her life had no inducement. She saw no future for theatre and and then none for herself. Merely information technology is possible to run across such a future for theatre. Her plays present the need for such a theatre."^[22] In 2021 Bond wrote "[Kane] had personal problems simply she was destroyed by the theatre manufacture. Drama had been her umbilical lifeline only the theatre industry tuned it into the rope with which she hanged herself."^[23]

Works [edit]

Kane originally wanted to be a poet, merely decided that she was unable to convey her thoughts and feelings through poetry. She wrote that she was attracted to the stage because "theatre has no retentivity, which makes it the almost existential of the arts. No doubt that is why I keep coming back in the hope that someone in a night room somewhere will prove me an paradigm that burns itself into my mind".^[24]

Blasted [edit]

Kane's first play was Blasted.^[1] Kane wrote the offset two scenes while a student in Birmingham, where they were given a public performance. The agent Mel Kenyon was in the audience and later on represented Kane, suggesting she should evidence her work to the Royal Court Theatre in London.^[1] The completed play, directed by James Macdonald, opened at the Royal Court Theatre Upstairs in 1995. The activeness is set up in a room of a luxurious hotel in Leeds where Ian, a racist and foul-mouthed centre-aged announcer, first tries to seduce and subsequently rapes Cate, an innocent, simple-minded young woman. From its opening in a naturalistic—though troubling—world, the play takes on dissimilar, nightmarish dimensions when a soldier, armed with a sniper'due south burglarize, appears in the room. The narrative ultimately breaks into a series of increasingly disturbing curt scenes. Its scenes of anal rape, cannibalism, and other forms of brutality, created ane of the biggest theatre scandals in London since Edward Bond'south Saved ^[1] in 1965. Kane admired Bond'due south work, and he in turn publicly dedicated Kane's play and talent.^[25] Other dramatists whom Kane particularly liked and who could be seen as influences include Samuel Beckett, Howard Barker,^[26] and Georg Büchner, whose play Woyzeck she afterwards directed (Gate Theatre, London 1997).

Blasted was fiercely attacked in the British press.^[27] Blasted was, nonetheless, praised by boyfriend playwrights Martin Crimp,^[28] Harold Pinter (who became a friend),^[29] Caryl Churchill,^[30] who considered it "rather a tender play". It was later seen to be making parallels betwixt domestic violence and the war in Bosnia, and between emotional and physical violence. Kane said, "The logical conclusion of the attitude that produces an isolated rape in England is the rape camps in Bosnia and the logical conclusion to the way club expects men to behave is war."^[31] Blasted was produced again in 2001 at the Purple Court. The assistant director of this product, Joseph Hill-Gibbins, suggests that "The argument is fabricated through form, through the shifts in styles in Blasted. That'south how she constructs the argument, by taking this setting in an English Northern industrial town and of a sudden transporting the action to a war zone." The critical realism that the get-go scene sets upwards is "literally blasted autonomously" in Scene 2. The critic Ken Urban says that "for Kane, hell is not metaphysical: it is hyperreal, reality magnified".^[31]

Skin [edit]

Skin was an eleven-minute film written for Channel iv, a British Goggle box station, depicting a vehement relationship between a black woman and a racist skinhead. It was first shown at the London Film Festival in October 1995 and televised by Channel 4 in 1997. The film is directed by Vincent O'Connell and stars Ewen Bremner, Marcia Rose, Yemi Ajibade and James Bannon.^[32]

Phaedra'due south Dearest [edit]

Kane was and then commissioned past the Gate Theatre, London, to write a play inspired by a archetype text. Phaedra's Honey was loosely based on the classical dramatist Seneca's play Phaedra, but given a contemporary setting. In this reworking of the myth of Phaedra'southward doomed honey for her stepson Hippolytus, it is Hippolytus, rather than Phaedra, who takes the central part. It is Hippolytus' emotional cruelty which pushes Phaedra to suicide. Kane reversed classical tradition past showing, rather than describing, violent action on stage. The play contains some of Kane's wittiest and most cynical dialogue. Kane described information technology as "my comedy".^[1] Directed by Kane, information technology was first performed at the Gate Theatre in 1996.

Cleansed [edit]

Cleansed premiered at the Royal Court'due south theatre downstairs in Apr 1998, and was directed past James Macdonald. This was at the fourth dimension the almost expensive production in the Royal Court's history. Kane stated that the play was partly inspired from reading a part of Roland Barthes's work A Lover's Discourse where "[Barthes] says the situation of a rejected lover is not unlike the situation of a prisoner in Dachau."^[33] Cleansed is set in what Kane in her stage directions described equally a "university" but which functions more as a torture chamber or concentration camp, overseen by the sadistic Tinker. It places a immature woman and her brother, a disturbed boy, a gay couple and a peepshow dancer within this world of extreme cruelty in which declarations of love are viciously tested. Information technology pushes the limits of what can be realised in the theatre: stage directions include "a sunflower pushes through the flooring and grows in a higher place their heads" and "the rats carry Carl's feet away". The play was presented at the National Theatre in London in 2016, the first time whatsoever of Kane'due south work had been performed there.^[34]

Crave [edit]

A change in critical stance occurred with Kane'southward quaternary play, Crave, which was directed by Vicky Featherstone and presented by Paines Plough at the Traverse Theatre in Edinburgh in 1998.^[1] The play was performed nether the pseudonym of Marie Kelvedon, partly because the notion amused Kane, only likewise so that the play could exist viewed without the taint of its author'south notorious reputation. "Marie" was Kane's middle proper noun and she was brought up in the town of Kelvedon Hatch in Essex.^[35]

Crave marks a intermission from the on-stage violence of Kane's previous works and a move to a freer, sometimes lyrical writing style, at times inspired past her reading of the Bible and T. South. Eliot'due south The Waste matter State.^[1] It has four characters, each identified only by a letter of the alphabet. It dispenses with plot and different her earlier work, with its highly specific stage directions, gives no indication what actions, if whatever, the actors should perform on stage, nor does it give any setting for the play. As such, it may have been influenced past Martin Crimp'due south 1997 play Attempts on Her Life, which similarly dispenses with setting and overall narrative. Kane had written of her adoration for Crimp's formal innovations.^[36] The work is highly intertextual. At the time, Kane regarded information technology as the "most despairing" of her plays, written when she had lost "religion in dearest".^[37]

4.48 Psychosis [edit]

Her last play, 4.48 Psychosis, was completed shortly before she died and was performed in 2000, at the Royal Courtroom, directed by James Macdonald. This, Kane'south shortest and nearly fragmented theatrical piece of work, dispenses with plot and character, and no indication is given every bit to how many actors were intended to vocalisation the play. Written at a time when Kane was suffering from astringent low, information technology has been described by her beau-playwright and friend David Greig as having equally its bailiwick the "psychotic heed".^[6] According to Greig, the title derives from the fourth dimension—4:48 a.m.—when Kane, in her depressed state, frequently woke in the morning.

Reception and legacy [edit]

In 1998, Kane was included in the Evening Standard 's list of 'London's Height 100 women', which was a list of "The nearly influential women in the uppercase".^[38] In the same yr she was too featured in the newspaper'due south listing of "London's l brightest young things".^[39]

Though Kane'southward work never played to large audiences in the United kingdom and was at first dismissed by many paper critics, her plays have been widely performed in Europe, Commonwealth of australia and South America. In 2005, the theatre director Dominic Dromgoole wrote that she was "without doubt the most performed new writer on the international circuit".^[40] Fellow playwright Mark Ravenhill has said her plays "have almost certainly accomplished canonical condition".^[41] At one point in Germany, there were 17 simultaneous productions of her work. In Nov 2010, the theatre critic Ben Brantley of the New York Times described the SoHo Rep's "shattering product" of Kane's Blasted (which had opened ii years previously) equally "i of the well-nigh important New York premieres of the decade".^[42]

Influence and inspiration

In Dec 2011, the playwright David Eldridge wrote that "For any playwright of my generation the spirit and experiential theatre of Sarah Kane casts a long shadow. Sarah believed passionately that form ought to exist expressive and conduct pregnant as powerfully as the story of a play. Blasted markedly influenced my adaptation of the moving-picture show Festen for the phase".^[43]

Playwright Robert Askins, who received a 2015 Tony Honour nomination for All-time Play for Hand to God, has cited Kane as a major inspiration.^[44]

In Ukraine, director Roza Sarkisyan chose to produce an excerpt of 1 of Kane'southward plays for the British Council in 2017, and cites Kane as an inspiration.^[45]

Bibliography [edit]

Anthologies

• Sarah Kane: Complete Plays. London: Methuen (2001), ISBN 0-413-74260-ane

Plays

• Blasted (1995)
• Phaedra'southward Dear (1996)
• Apple-pie (1998)
• Crave (1998)
• 4.48 Psychosis (1999)

Screenplays

• Peel (1995)

Notes [edit]

1. ^ ^{a b c d e f g h} Saunders, Graham (2002). Dearest me or impale me: Sarah Kane and the theatre of extremes. Manchester: Manchester Academy Press. p. 224. ISBN0-7190-5956-9.
2. ^ Sierz, Aleks (2001). In-yer-confront theatre: British drama today. London: Faber and Faber. pp. 120–121. ISBN0-571-20049-iv.
3. ^ Saunders, Graham (27 Baronial 2009). "Bookish GRAHAM SAUNDERS ASSESSES SARAH KANE" (Interview: Audio). Interviewed by Aleks Sierz. Dewynters, London. Retrieved 20 February 2021.
4. ^ Mark Ravenhill Obituary: Sarah Kane, The Independent, 23 Feb 1999
5. ^ Kane in Stephenson and Langridge, 1997:133). Stephenson, H AND Langridge, N. (1997) Rage and Reason: Women Playrights on Playwriting. Bloomsburgh, London.
6. ^ ^{a b} Greig, David (1998). "Introduction". Sarah Kane: Consummate Plays. p. 90. ISBN0-413-74260-1. ISBN 0-413-74260-one ISBN 978-0-413-74260-5
7. ^ ^{a b} "Corrections and clarifications column". The Guardian. 18 October 2005. Retrieved 28 February 2021.
8. ^ ^{a b c} Hattenstone, Simon (i July 2000). "A deplorable hurrah (function 2)". The Guardian . Retrieved 18 Apr 2018.
9. ^ Gardner, Lyn (23 February 1999). "Of beloved and outrage: Sarah Kane obituary". The Guardian . Retrieved 27 Feb 2021.
10. ^ ^{a b c d e f g h i j} Quinn, Sue (23 September 1999). "Suicidal writer was costless to kill herself". The Guardian . Retrieved 26 Feb 2021.
11. ^ ^{a b c d e} Boggan, Steve (23 September 1999). "Infirmary let playwright repeat her suicide bid". The Independent . Retrieved 26 February 2021.
12. ^ BLASTED: THE LIFE AND Expiry OF SARAH KANE Audio Documentary directed by Nicola Swords
13. ^ ^{a b} McGowan, Patrick (22 September 1999). "Nurses failed to check on suicidal playwright". Evening Standard. p. four.
14. ^ "Suicide verdict returned on playwright". The Herald. 23 September 1999. Retrieved 28 February 2021.
15. ^ Macdonald, James (28 February 1999). "'They never got her'". The Observer.
16. ^ Kutchinsky, Serena (March 2015). "Sarah Kane, Sheffield Theatres: has her fourth dimension come up?". Prospect Magazine . Retrieved 25 February 2021.
17. ^ Gentleman, Amelia (23 February 1999). "Playwright Kane kills herself". The Guardian. p. 1.
18. ^ Neilson, Anthony (25 February 1999). "Insane Thesis". The Guardian. p. 27.
19. ^ Gordon, Paul (28 Feb 1999). "You don't have to be suicidal to be an creative person, and it doesn't assist". The Independent.
20. ^ Benedict, David (26 October 2020). "Remembering Sarah Kane: the poet with a gift for distilled intensity". The Stage. The Stage Media Company Limited. Retrieved 24 February 2021.
21. ^ Dromgoole, Dominic (2002). The Full Room: An A-Z of Contemporary Playwriting (2002 ed.). Great Britain: Methuen. pp. 163–165. ISBN0-413-77134-2.
22. ^ Bail, Edward (2014). The Hidden Plot. Bloomsbury. p. 174. ISBN9781408171417 . Retrieved nineteen September 2021.
23. ^ YOUNG THEATRE -- SOME QUESTIONS by Edward Bail
24. ^ article Guardian 13 August 1998
25. ^ The Guardian, 28 January 1995
26. ^ Ravenhill, Marker (28 October 2006). "The beauty of brutality". The Guardian . Retrieved 20 February 2021.
27. ^ Eyre, Richard; Wright, Nicholas A. (2001). Changing stages: a view of British and American theatre in the twentieth century . New York: Alfred A. Knopf. pp. 400. ISBN0-375-41203-4.
28. ^ letter to The Guardian 23 January 1995
29. ^ Harold Pinter, quoted past Simon Hattenstone. "A sad hurrah (function ii)", The Guardian, 1 July 2000
30. ^ alphabetic character to The Guardian 25 January 1995
31. ^ ^{a b} Ken Urban, "An Ideals of Catastrophe: The Theatre of Sarah Kane." PAJ: A Periodical of Performance and Art. Vol 23. No. 23 (Sept 2001), pp. 36-46, doi:10.2307/3246332.
32. ^ "Skin" – via www.imdb.com.
33. ^ Saunders, Graham (2002). 'Love Me Or Impale Me': Sarah Kane and the Theatre of Extremes. Manchester University Press. p. 93. ISBN0-7190-5955-0 . Retrieved xx Feb 2021.
34. ^ Hemming, Sarah (12 February 2016). "A 'long overdue' debut for Sarah Kane". Financial Times.
35. ^ Vicky Featherstone, quoted by Simon Hatteanstone, Guardian 1 July 2000
36. ^ commodity Guardian 21 September 1998
37. ^ quoted by Nils Tabert Playspotting: dice Londoner Theaterszene der 90er 1998
38. ^ Dennis, Neil; Mendis, Gita; Sheffield, Emily (8 September 1998). "The Near influential women in the capital". Evening Standard. pp. 24–25.
39. ^ Sheffield, Emily (15 Oct 1998). "Young, successful". Evening Standard. p. 18.
40. ^ Dominic Dromgoole "The return of citizen Kane", The Times, 23 October 2005
41. ^ Marker Ravenhill "'Suicide fine art? She's ameliorate than that'", Guardian, 12 October 2005
42. ^ Brantley, Ben (v Nov 2010). "Off Broadway Shows Often Struggle on Broadway - Critic'south Notebook". The New York Times.
43. ^ Eldridge, David (2001). Eldridge Plays: ii :Incomplete and Random Acts of Kindness, Market place Male child, The Knot of the Middle, The Stock Da'Wa. Methuen Drama. p. ten. ISBN1408164833.
44. ^ Paulson, Michael (ii April 2015). "Robert Askins Brings 'Paw to God' to Broadway". The New York Times . Retrieved 16 Nov 2021.
45. ^ English, UATV (ten October 2017). "Ukrainian Directors "Take the Stage" at the British Council Theatre Competition". Medium . Retrieved 5 March 2021.

References [edit]

• Sarah Kane interview in Rage and Reason: Women Playwrights on Playwriting by Heidi Stephenson and Natasha Langridge, Methuen, 1997

External links [edit]

• Obituary in British Theatre Guide Archived vii November 2012 at the Wayback Automobile
• Sarah Kane at IMDb
• Guardian: Sarah Kane (10/2005)
• Sarah Kane: Comprehensive site on Sarah Kane
• Audio documentary past Dan Rebellato 'Blasted: The Life and Decease of Sarah Kane'
• Audio interview with Sarah Kane hosted by Dan Rebellato at Royal Holloway University on three November 1998 in that location is also a PDF transcript of the interview

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Source: https://en.wikipedia.org/wiki/Sarah_Kane

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