The outbreak occurred at the premiere of Resold at the Royal Court Theater Upstairs, in 1995. Sarah Kane had not turned 24, but had long wanted to install her storm on stage.

Daughter of a marriage of evangelical journalists, she lost her footing with faith in adolescence: "I think what happened to me with Christ can be considered my first love break ." He then tried to interlock with the world in another way. He first tried it in poetry, but he soon recognized the theater as the auspicious place in which to arm with his demons. "The theater has no memory, which makes it the most existentialist of the arts. That is the reason, no doubt, why I return again and again, hoping that someone in a dark room somewhere show me an image that burns in my mind and lasts longer than that fleeting moment. "

In 1994 he premiered Patients , a piece in which he already refines the orchestra of his obsessions: lack of love, violence, sex . However, the counter of his talent usually begins in the aforementioned premiere of Resold . Many could not stand the downpour of dark life that the insolent little girl from Essex (in her eyes) overturned on the boards. Critics defined this inaugural piece as "a filthy feast of filth."

Still, Kane was determined: she didn't want to practice taxidermy of the beautiful Aristotelian animal anymore. He asked that the spectators live the scene "like the one with the face stuck to an overflowing ashtray." I loved the theater because what happened there was in danger, like everything alive. She also didn't take refuge in writing. His work has more of a sacrificial altar, than a trench; more ghost inventory than dramatic carpentry.

Soon she was named a disciple of the Cruelty Theater of Artaud, although she had not read it when she wrote her first texts. She, who considered herself a kleptomaniac , drank from the torrent of the Elizabethan tragedy, the hallucinated Woyzech of Büchner, the poetry of Elliot, the damaged creatures of Beckett and the insomnia of some psalms.

Those who knew her say that she was happy with others. Meanwhile, he was vagrating his collapse in the theater, trying to hold a spirit that fell apart. Reventados was followed by The Love of Fedra (1996), dazzling, ruthless and pop appropriation of the creatures of Euripides and Seneca, and referred to as "my comedy." His continuous income in different psychiatric hospitals inspired the university-concentration camp in which his third piece Purified (1998) takes place. Fame began to overwhelm her. The compliments and expletives only stirred up an already tumultuous mood. That is why he signed his penultimate work Ansia (1998) with the pseudonym of Marie Kelvedon; This is perhaps the sharpest of his pieces, the flash before the final darkness.

In 1999 he writes 4.48 Psychosis , an hallucinated oratory, a suicide note. For Kane that was the most naked hour, the deepest hour of sadness. Finish the text and try to commit suicide by ingesting more than 200 pills . Someone finds her on time and postpones death. Three days later he hangs himself in the hospital, hanging on the shoelaces.

His theater continues to spread its dark light today. There is more life in one of its replicas than in many of the "machine works" that go up to our stages. The young woman who tried to exorcise her ghosts in theatrical writing is already a consecrated figure on stage all over the world, emblem of the Theater in-yer-face.

Harold Pinter said at his funeral that Sarah was, above all, a poet . A woman who experienced scenic writing as a ruthless form of love.

According to the criteria of The Trust Project

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