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Feeling the loss of feminism: Sarah Kane's Blasted and an experiential genealogy of contemporary women's playwriting

Research output: Contribution to journalJournal article


<mark>Journal publication date</mark>12/2010
<mark>Journal</mark>Theatre Journal
Number of pages18
<mark>Original language</mark>English


This essay disinters Blasted, the highly controversial debut play by Sarah Kane, from a masculinist cult of "in-yer-face-ism" in order to propose a genealogy of contemporary women's playwriting on the British stage characterized by an experiential drive to feeling the loss of feminism. Taking Blasted as a seminal point of reference, an experiential genealogy of women's writing is constructed by looking back at work by Rebecca Prichard and Judy Upton, and forward to millennial women's drama-in particular to politically angry newcomer debbie tucker green, whose theatre is examined as a savage critique of a world scarred by an acute lack of altruistic feeling for "others." The essay concludes with brief reflections on the efforts made by new women writers to claim a space on the British stage.