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다국어 초록 (Multilingual Abstract)

Sarah Kane’s last play, 4.48 Psychosis, incorporates diverse experiments of theatrical writing that depart from the pre-existing playtext form. The play is often summoned as a quintessential example of Hans-Thies Lehmann’s postdramatic theater, however, the analyses of its postdramatic features have primarily focused on the performance that is promised by the play’s idiosyncratic form. This paper focuses on the written product of 4.48 Psychosis that requires the reader/audience to ‘see’ the text instead of reading it. In so doing, this paper investigates the extent of which the text can be represented in performance and if the text is already functioning as a performance itself. In a paradoxical position between text-as-script and text-as-performance, 4.48 Psychosis inquires into the very opposition between text and performance as it has been conceived by theories in drama and theater. Kane’s writing practice reveals that the text and its performance are integrated around the notion of language and its performative potential. While Kane’s particular focus on ‘text for performance’ seems to favor performance over text, the language of 4.48 Psychosis needs to be at the center of this examination, which means that the focus will be on the printed text while cross-referencing particular stage productions. It is thus precisely by ‘seeing’ the text that it becomes possible to follow how the play’s language promotes a dynamic relationship between text and performance as well as how it challenges traditional concepts of drama.

목차 (Table of Contents)

I. Introduction
II. In-yer-face Theatre, Postdramatic Theater, and the Theater of Language
III. Performance: 4.48 Psychosis On the Stage
IV. Text: 4.48 Psychosis on the Page
V. Conclusion

I. Introduction
II. In-yer-face Theatre, Postdramatic Theater, and the Theater of Language
III. Performance: 4.48 Psychosis On the Stage
IV. Text: 4.48 Psychosis on the Page
V. Conclusion
Works Cited
Abstarct

참고문헌 (Reference)

1 최영주, "퍼포먼스 글쓰기의 가능성: 4.48 Psychosis를 중심으로" 한국현대영미드라마학회 25 (25): 113-139, 2012

2 심정순, "감성의 포스트 여성주의 정치학: 사라 케인의 Blasted와 4.48 Psychosis를 중심으로" 한국현대영미드라마학회 25 (25): 93-120, 2012

3 Dickson, Andrew, "‘The Strange Things is we Howled with Laughter’: Sara Kane’s Enigmatic Last Play"

4 Delgado-Garcia, Cristina, "Why Sarah Kane’s play 4.48 Psychosis is the Perfect Inspiration for an Opera"

5 Barnett, David, "When Is a Play Not a Drama? Two Examples of Postdramatic Theatre Texts" 24 (24): 14-23, 2008

6 Tycer, Alicia, "Victim. Perpetrator. Bystander”: Melancholic Witnessing of Sarah Kane’s 4.48 Psychosis" 60 (60): 23-36, 2008

7 Roberts, Matthew, "Vanishing Acts: Sarah Kane’s Texts for Performance and Postdramatic Theatre" 58 (58): 94-110, 2015

8 Fortier, Mark, "Theory, Theatre: an Introduction" Routledge 2002

9 Artaud, Antonin, "The Theater and its Double" Grove 1958

10 Pennington, L. A., "The Serial Sevens Test as a Psychometric Instrument" 17 (17): 488-499, 1947