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Languages: English
Types: Doctoral thesis
Subjects: N1
This thesis uses studio practice, scholarly research, close reading of text, performance observation and conversation with practitioners to establish diverse readings of Sarah Kane’s Cleansed. It includes original material from the 2012 productions of Cleansed in Japan (Kamome-za Fringe Theatre), and in Ireland (Bare Cheek Theatre). It notes practice on Cleansed in gallery spaces (Cast-Off Drama, UK). It offers a dramaturgical approach to workshopping the play from a feminist and queer position, informed by theories of gender and transgender, and the marginalised, loving and delinquent practice of clowning. The research discusses principles of breath, voice and sexuate difference drawing primarily on the philosophies of Luce Irigaray, on the voice practice of Cicely Berry and the clown teaching of Sue Morrison.\ud \ud The work challenges the ‘in-yer-face’ theatre discourse on Kane arguing that it represents a McDonaldization of its subject matter, and an insidious trivialisation of her texts. It offers new thinking on the opening night of Blasted (1995), suggesting that the ‘furore’ was fuelled by collective male hysteria and superstition; its roots centred in mourning. Analysing Cleansed in relation to Edward Bond’s Saved and Lear, it explores tropes of ghosts, stitching and the silent scream, and argues that Kane militates for gynocentric time and becoming. It analyses the symbol of the perimeter fence as a feature of 1980s Britain, noting the strength of binary associations configured in it with reference to both English football hooliganism (male) and the Greenham Common Women’s Peace Camp (female). It argues that Kane sets up heteronormative binaries in Cleansed to debate and contest them.\ud \ud A key conclusion of the thesis is that Cleansed politically addresses and dramatises issues of transgender experience presenting accounts of gender violence, mutability, transitioning, the sharp fractures and silences of gender dysphoria, but also, ultimately, queer desire, love and optimism.
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    • 2. Finding 'an adequate language with which to discuss' the Drama of Cleansed and Establishing Some Principles of Breath ................................................... 84 3 Corporeal Ghosts: Superstition and Mourning on the Blasted Heath.......................... 110 3.i. Ghosts, Breath and Crude Stitching 3.ii. A View of the Blasted Hysteria from One of Hamlet's Grave-digging Clowns
    • 110 146 4. Gender, Fracture and the Architecture of Blasted ....................................................... 175 5. Clean Bombs, Confrontations and Time - Gender, Violence and the Political Significance of the Perimeter Fence in Sarah Kane's Cleansed. .................................. 204 5.i Time, Gender and … Oh how long have we got?! 5.ii. Football and the London Theatre 5.iii.The Political and Gender Significance of the Perimeter Fence in Cleansed.
    • 6. Wearing My Brother's Underpants, and Other Queer Clown Explorations: The Importance of Clothing to a Gender-informed Dramaturgy of Cleansed.............. 317 7. Afterword: 'A life and voice of its own' ....................................................................... 362 Christine Smith, To Be Two, mixed-media on lining paper roll, made in response to life-model performer reading from Irigaray's philosophies. I Love To You, Cast-Off Drama, Bates Mill Artspace, Huddersfield, UK, 27 July 2009 ......................................................................69 1.b. Touching mucous. Detail from Christine Smith, To Be Two, mixedmedia on lining paper roll, I Love To You, Cast-Off Drama, Bates Mill Artspace, Huddersfield, UK, 27 July 2009 ......................................................70 Kerry Ely, Siobhan Harrison and Carly Wood, Sarah Kane Research Group, Finding a Moment of… Love in 'Cleansed', University of Huddersfield Drama Department, UK, 21 October 2009 ..............................71 3.i.a. Silent Scream. Carl (Kanya Takeda), Rod (Kousuke Suzuki) and Woman (Ayano Teramoto) in Kamome-za Fringe Theatre's 2012 version of Cleansed ('Be Cleansed'). Space Edge, Shibuya, Tokyo, Japan, May 2012 ............................................................................................145 4.
    • 6.b.
    • 6.c.
    • 6.d.
    • 6.e.
    • 6.f.
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