Blasted, a starting point

A précis of Sarah Kane’s Blasted, positively compared with Adam Rapp’s Blackbird.  In the Rapp play all sorts of outrageous behavior seemed entirely grautitous, whereas in Kane’s, the extremity of the action generated care and involvement.

Is it the more grave setting of Blasted that allows us to enter such a brutal world?

Dislike of Violetta 1 scene, at the protest at not being able to speak about the rape – isn’t that the task of the play in the first place, to make that experience clear?  I wanted the writing to do more work.

Levine: but if Blasted shows you the horrors of war so vividly to provoke nasusea, or deep paranoia, or violent reaction, is that good?

James: but you can’t protect yourself from interpretation, especially if you’re trying to make a strong point.

Gideon: some people who didn’t like Blasted have commented that they were struck more by the technical achievement of the production, rather than being moved by the characters.

No, all three characters were very much full human beings – however garishly flawed.

Levine: but is the extremity justified by the well-drawn characters?  What’s the virtue of seeing that extremity in the theatre, that having it happen off-stage wouldn’t do?

Jon: one thing is the poetic element of the violence – the soldier weeping as he rapes the journalist, for example.


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