Language in Contemporary English Drama - Book Report/Review Example

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It is imperative to examine how language is used in the works of Sarah Kane, Irvine Welsh, and Mark Ravenhill in this paper, three contemporary playwright writers.
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Language in Contemporary English Drama
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Download file to see previous pages Conversely, the function of the theatre is not to give back the familiar reality of everyday life, but to give man intimations of a super reality that knows no bourn (ibid). Theatre has a task to distill the arrangement of language and bring an exaltation of artistic reverie. Its very nature is to communicate and transcend.

Postdramatic theatre, like the form of contemporary theatre, knows not only the empty space but also the overcrowded one (Lehmann 2006). The text in post-dramatic theater is also mainly created by employing devising methods or deconstruction of existing dramatic texts (ibid). It is important to recognize what the character wants, the thing that drives them to the scene, what dictates the way they speak, and the language they use.

There is a sense of theatrical language in the manner by which Kane presented her writing. She provokes a strong emotional and intellectual reaction from her audience leading to a sense of "filtering emotions through a media aesthetic." Kane's work may be described in terms of the use of language as appearing not as the speech of characters, but rather, as an "autonomous theatricality". The themes employed were redemptive love, sexual desire, pain, torture, and death. Her works were mainly characterized by poetic intensity, exploration of theatrical form, use of pared-down language, and use of extreme and violent stage action. She wrote that theatre has no memory, making it the most existential of the arts, and it is for this reason that she was attracted to the stage (Saunders 2000). She seemed to seek a theatrical language, capable enough to provoke a strong emotional and intellectual reaction, prevailing in almost all her works (Lehmann 2006). Her experimentation of form and the precise organization of language opened a gate to a somewhat new trend in theatrical play.
Her writing, being within the post-dramatic theatre, had theatrical means positioned beyond language alongside with the text, rendering it (the text) only one element within performance. She created her 4:48 Psychosis in 1999 "only" through language; that is, with images within language rather than visualized. The play is about a psychotic breakdown depicting what would happen to a person's mind when the barriers distinguishing reality from imagination completely disappear (Saunders 2002). It did not include characters or stage directions, giving way to some inferences that the theatrical means beyond language are equally positioned alongside the text (ibid). However, a production that aims to give equal importance to both technology and movement might distract the images originally purported in the language, and could create contradictions of forms that may confuse the audience's sign-systems. The use of language in 4:48 Psychosis attempts to make form and content one embodiment.
Since her first play Blasted, form had been a ...Download file to see next pagesRead More
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