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'Love Me Or Kill Me': Sarah Kane and the Theatre of Extremes | 
 enlarge | Author: Graham Saunders
Publisher: Manchester University Press
Category: Book
List Price: $26.95
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Avg. Customer Rating:  1 reviews
Sales Rank: 193447
Media: Paperback
Number Of Items: 1
Pages: 224
Shipping Weight (lbs): 0.6
Dimensions (in): 8.6 x 6.4 x 0.7
ISBN: 0719059569
Dewey Decimal Number: 822.914
EAN: 9780719059568
ASIN: 0719059569
Publication Date: July 5, 2002
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Product Description
Love Me or Kill Me is the first study of Sarah Kane, the most significant British dramatist in post-war theater. It covers all of Kane's major plays and productions, contains hitherto unpublished material and reviews, and looks at her continuing influence after her tragic early death. Locating the main dramatic sources and features of her work as well as centralizing her place within the 'new wave' of emergent British dramatists in the 1990's, Graham Saunders provides an introduction for those familiar and unfamiliar with her work.
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| Customer Reviews:
Good intro to the works of Sarah Kane July 24, 2002
24 out of 24 found this review helpful
I have no doubt in my mind, that Sarah Kane's influence will be compared to that of Beckett's, in about twenty or thirty years. Unfortunately, those of us in the United States have had little opportunity to see her works staged, as of yet. Nevertheless, Saunder's book provides a somewhat thorough overview of her works.
The book is divided into two parts. After a brief introduction, there is a discussion of each of her plays, and Saunders traces Kane's journey and development. Common themes are discussed, her movement toward stripping down language to the barest essentials, her reliance on image over the word, her destroying of the boundaries and limitations of theatrical structure, common characteristics of her characters, etc. Most of the time is spent on Blasted!, which I can understand, but I found the insight to be less in-depth on some of my favorite plays, including about a ten page discussion each for both Cleansed and Crave. It leaves one feeling that merely the surface has been scratched. However, new information was introduced, which did add to my enjoyment and understanding of the plays. The second half of the book includes a number of interviews with actors, directors, agents, and such, that had the opportunity to work directly with Kane. This section adds a different perspective from the first, and adds a much more personal approach that books of this sort are usually lacking.
Hopefully, this book will help direct some attention to Kane's work. It seems that we are the only country not invested in her works, and maybe this book will help de-mystify her for American audiences. Maybe this will help get her fellow playwrights some attention as well, such as Mark Ravenhill, Anthony Neilson, and David Greig. This book marks a positive step toward understanding the work of someone who innovated and challenged so much, that we will only fully comprehend her impact in the distant future. Its worth the read, and applause for Saunders for taking this crucial step.
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