폭파 이후 사라 케인의 『폭파』속 드라마에 대한 비전

Abstract

This essay attempts to investigate Sarah Kane’s pursuit of dialogue, one of the essences of drama, by delving into the playwright’s dramaturgy of destruction and circulation in Blasted. As an antiplay, following the tradition of Antonin Artaud’s Theatre of Cruelty and “In-yer-face” Theatre, which was led by young playwrights of the UK in 1990s presenting a series of shocking effects for audiences to confront the ongoing turmoil of the stage, Blasted resists to be categorized among the realist drama of mainstream theatres led by white upper class male playwrights. Meanwhile, Kane also denied any connection of her plays with feminism, so she refused to be recognized as a feminist. Neither mainstream realist drama, nor resistant feminist play, Kane’s aesthetics is revealed through her dramaturgy of destruction and circulation : destruction of the characters’ psychology and the stage, and circulation of four seasons and role change between characters after destruction. At the “after-destruction” moment, which is a latter part of the play, Blasted presents a moment in which there is nothing but a dialogue the two characters can do on stage, which resembles certain scenes in Theatre of the Absurd. Thus, in the form of “In-yer-face”, an antiplay, Blasted paradoxically constructs Kane’s vision on dialogue, the essence of drama.