Sarah Kane chega ao Youtube: 4.48 Psychosis, Tradução e Adaptação em tempos de convergência

Neste artigo, utilizo como objetos de estudos a peça de teatro 4.48 Psychosis, de Sarah Kane, suas traduções não oficiais em português brasileiro e sua adaptação audiovisual divulgada no YouTube, Psicose 4h48, para realizar uma análise fílmica (cf. VANOYE; GOLIOT-LÉTÉ, 1994), a partir dos preceitos da Teoria da Adaptação (SEGER, 2007; HUTCHEON, 2013) e da Teoria da Tradução Intersemiótica (DINIZ, 1998; PLAZA, 2013), com o objetivo de identificar como a peça foi transposta para a tela digital. Tendo em vista os modos de compartilhamento e acesso às obras aqui analisadas, enfatizo o papel que a Cultura da Convergência e a Cultura Participativa (JENKINS, 2009) está exercendo nas transformações tecnológicas, industriais e sociais, principalmente no modo como as mídias circulam em nossa cultura e como a audiência está recebendo essas mídias.

Toward Theatrical Communitas

The term communitas, introduced into anthropological discourse by Victor Turner in the late 1960s, returned to humanist debates at the threshold of the twenty-first century by way of Roberto Esposito. Referring to Esposito’s concept of communitas, this essay brings out the anthropological tradition in thinking about the common, which Esposito had marginalized. The present author emphasized the importance of processuality and antistructural dimensions of egalitarian forms of togetherness, along with their potential to liberate human capacities of creativity. Examining the relation between munus and ludus, she shows theatricality residing immanently in the root of communitas. Focusing on the aesthetic and creative dimensions of togetherness helps in detecting multiple forms of commonality, and indicates various models of theatrical communitas. Exploring a nonnormative, transformative potential in experimental theater (Jerzy Grotowski, Sarah Kane, Ron Athey, Krzysztof Garbaczewski), she emphasizes collective, temporal, and excessive natures of theater that eschews the market-driven economy, along with the importance of a transversal communitas where the human being is only one of many actors. Some threads of the argumentation are expanded upon in a conversation with Leszek Kolankiewicz, included as an appendix.

Dramatic shift: Conservative to Avant-garde in Sarah Kane’s “4.48 Psychosis”

Drama is a genre in literature that recreates not only existing actions but also interprets the different versions of truth put on stage. Sarah Kane, a dramatist, is usually associated with the new theatrical form of writing called the in-yer-face theatre. Kane, after writing her last play, 4.48 Psychosis commits suicide. For this reason, many critics consider this play as a ‘suicide notes’ which makes it limiting since these critics do not pay attention to her extensive use of styles and her experimental shift from conservative to avant-garde dramatic constructions. While her earlier works Blasted, Phaedra’s Love and Cleansed were centred principally on shock irritating violent and relatively hostile metaphors, the style of her two last plays Crave and 4.48 Psychosis shifts blatantly as they are written in a conspicuously poetic style. Her last play which is the focus of this study swings from conventional to unconventional style of writing given that she deviates from the classical presentation of drama. This study uses the theoretical backdrop of Postmodernism for its analysis. The paper demonstrates that analysing 4.48 Psychosis in connection to Kane’s life and death is restrictive and biased as it procures a plethora of innovative scopes.

The Play of Law in Modern British Theatre

The Play of Law in Modern British Theatre investigates the place and purpose of law in a range of modern dramatic settings and writings. Each chapter, which focusses on a particular area of law and the work of a particular playwright, illustrates the important role of theatre in articulating legal and political issues to a modern audience. The encompassing aspiration of The Play of Law in Modern British Theatre introduces the reader to a variety of genres in modern dramatic writing. From the ‘state of the nation’ plays of the 1980s and 1990s, to ‘verbatim’ and modern historical drama, to the calculated violence of ‘in-yer-face’, and associated expressions of radical and feminist theatre. Amongst those playwrights whose work is considered are David Hare, Richard Norton-Taylor, Caryl Churchill, Howard Brenton, Mike Bartlett, Sarah Kane, Bryony Lavery and Evan Placey. Along the way the reader is introduced to an equally wide range of areas of political and legal debate; from constitutional reform, to the present state of international law, to a variety of familiar controversies in associated areas of law, society, and gender.

On Playwright Canonization

This article engages with the issue of the factors determining theatrical prominence, endorsing the “institutional approach.” In discussing the major mediating role played by theater reviewers in the canonization of individual playwrights, the article focuses particularly on two essential factors that contribute to and affect the processes of their canonization: a convergence of the mediating agents concerning the prominent theatrical contribution of the playwright in question; and the formulation of the playwright’s critical construct (an aggregation of traits recurring in the works seen as typifying the playwright in terms of influences and innovations). The careers of four British playwrights, Harold Pinter, John Arden, Sarah Kane, and Martin McDonagh, serve as the case studies. Three of these — Pinter, Arden, and Kane — demonstrate three differing trajectories that represent two distinctive possibilities, whereby either both factors are at play and canonization follows, or neither is at play and canonization fails. McDonagh represents an intriguing, different possibility in which one factor is at play while the other is absent. Thus, while the careers of three of the playwrights demonstrate the effectivity and consequent implications of the two factors, McDonagh’s trajectory illustrates the consequent effectivity of each factor separately and the relevant implications of such effectivity.

Crave de Sarah Kane: aproximación a una dramaturgia performativa

La obra de Sarah Kane ha sido considerada como una manifestación dramática que quebró y renovó la escena teatral de los años 90 en Inglaterra, exponiendo la violencia y soledad de su mundo. El presente artículo tiene por objetivo analizar, desde la perspectiva y aproximación de lo que podríamos denominar como una dramaturgia performativa, el texto Crave estrenado el año 1998 y, de este modo, comprender cómo algunas dramaturgias contemporáneas permiten ingresar a otras dimensiones a partir de su lectura, donde lo experiencial y la afectación emergen como aspectos relevantes en los intersticios que existen entre el texto y el lector.