Three month pre-development redraft of my play, ‘Mirror Modes’ finished yesterday and I’m officially back in the room.
So, next: the great lost hope of recent British drama. It’s sobering to wonder what more depth of impact Sarah Kane could have made to contemporary theatre had she lived longer. I don’t intend attempting an answer, and the five plays she left us make a good case for her protean unpredictability being precisely what we miss the most (although, in a different mood, I and many others might cite vertiginous vanity-free honesty and/or acid-wash emotional brutalism).
As per my MO, then, today I’ll offer a clutch of links to further info on her life and work before moving on to a read-thru of the plays with more links plus the pick of quotes from each. For B.A.S.I.C.S., find her wikipedia page above (itself linking to more resources such as Iain Fisher’s passionately put-together site, featuring production photos and multi-authored discussions of her work). For a reasoned and authoritative bio, see Aleks Sierz. Most personally, Mark Ravenhill revisits his relationship to her as living peer and immortal competitor.
And this brings us to the difficulty of engaging with her work on its own terms – from the hypocritical furore blown up by sensationalist press around her debut, Blasted, to the sad fact, the inescapable act of her suicide less than five years later, no writer of the Nineties and its In-Yer-Face tendency has been so lionised, romanticised, mystified. The testimony of those who knew her consistently reject this, and we must respect them.
Kane’s plays are amongst the most performed of any recent writer not because of her public or private life, not because they shocked (such currency loses worth fast), not because they were authenticated by her troubles, but because they used radical form to incise closer to life (not fantasise an elaborate shelter), precisely because the art was bigger than the artist, and – prosaically – because the words on the page still resonate with makers who find the same thing happens via stage to audience. Her career was brief, but her legacy phenomenal, the possibilities she exposed with her controlled explosions cracking open new paths for those who followed. That’s what I’m celebrating this week on Subjectiviste.