Brutalist theatrical procedures of Sarah Kane, Anja Hilling, Simona Semenič, and Milena Marković

Roč.28,č.2(2025)

Abstrakt
The essay examines three cases of brutalist procedures in contemporary theatre and drama, focusing on artists' inventive responses to war, violence, and subsequent deaths happening around the world. Sarah Kane's in-yer-face theatre, marked by hypertrophied violence and symbolic dynamism, is compared with selected plays by German playwright Anja Hilling (Black Beast Sorrow), Slovene playwright and dramaturge Simona Semenič (the feast; we, the european corpses), and Serbian poet and playwright Milena Marković (Pavilions; The Doll Ship). The essay explores how these artists challenge theatrical representation and create, through heterogeneous textual and visual strategies, a 'theatre of unbelief' (Deleuze), reframing Kane's brutalism for post-socialist European contexts.

Klíčová slova:
brutalist procedures; in-yer-face theatre ; Sarah Kane; post-socialist Europe; no longer dramatic texts; theatre of unbelief

Stránky:
40–57
Reference

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