Masculinity in Crisis: A Gender Study of Blasted by Sarah Kane

wei CEN, Teng MA

Abstract


Sarah Kane’s plays not only concern about women’s fate, but also pay attention to the existential crisis that men have encountered. As the representative of Kane’s male protagonists, Ian in Blasted, not only suffers from physical pain but also psychological nihilism. Due to the internal and external threats, the absoluteness of males’ power is debilitated. Meanwhile, with the progress of plots, the fragility of the man, as well as his craving for hope, truth and love is gradually surfaced.

 


Keywords


Blasted; Masculinity; Crisis

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References


Aston, E. (2010). Feeling the loss of feminism: Sarah Kane’s Blasted and an experiential genealogy of contemporary women’s playwriting. Theatre Journal, 62, 575-591.

Hollis, J. R. (1970). Harold Pinter: The poetics of silence. Chicago: Southern Illinois University Press.

Kane, S. (2001). Sarah Kane: Complete plays. London: Methuen Publishing Ltd.

Pilcher, J., & Whelehan, I. (2004). Fifty key concepts in gender studies. London: SAGE Publications Ltd.

Saunders, G (2002). Love me or kill me: Sarah Kane and the theatre of extremes. Manchester: Manchester University Press.

Saunders, G. (2009). About Kane: The playwright and the work. London: Faber and Faber.

Tycer, A. W. (2006). Voices of witness during the “crisis in masculinity”: Contemporary British women playwrights at the royal court theatre. Irvine & San Diego: University of California.

Wyllie, A. (2009). Sex on stage gender and sexuality in post-war British theatre. Bristol: Intellect Books.




DOI: http://dx.doi.org/10.3968/9222

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