Post reply

Name:
Email:
Subject:
Message icon:
Verification:
Type the letters shown in the picture
Listen to the letters / Request another image

Type the letters shown in the picture:

shortcuts: hit alt+s to submit/post or alt+p to preview


Topic Summary

Posted by: archive
« on: August 16, 2007, 12:00:19 AM »

Simply on the concept of the hero in terms of their role in dramatic structure you might want to look at The Death of Character by Elinor Fuchs - 1st part of chapter 1. It might be totally wrong for what your after but it's interesting none the less.

Archive 17-6-2001
Posted by: archive
« on: August 15, 2007, 11:59:37 PM »

Any good online bookshop should have the Complete Plays - try amazon.

Archive 11-11-2001
Posted by: archive
« on: August 15, 2007, 11:58:53 PM »

Hello, I have to do my thesis on Sarah Kane and contempory theatre. Where can I find copies of the plays? I.e. buy them. Please help I'm desperate!!!! FROM Hannah in Denmark

Archive 28-10-2001
Posted by: archive
« on: August 15, 2007, 11:57:56 PM »

Well I would agree with this, that both characters are "anti-heros" but...is their admission, in part, perhaps a bit manipulative in the way that it also absolves them of any guilt or wrong-doing? By this I mean...ie., "If I admit I am like this, how can people really hate me then"? I'm not sure, but maybe this is true...

Archive 11-6-2001
Posted by: archive
« on: August 15, 2007, 11:57:12 PM »

Good point about A, and what about C? Granted, she isn't a classic 'heroine', but for me she is the focal point of Crave, and generally we sympathise with, and feel for, her (as played by Sharon Duncan-Brewster and by Sarah herself, rather than Eileen Walsh's surly portrayal).

I suggested to Jaidn by e-mail that Grace is the nearest of Sarah's characters to a heroine; Jaidn acknowledged that she achieves her goal, but pointed out that she gave in to Tinker, allowing him to change her...

Archive 13-6-2001
Posted by: archive
« on: August 15, 2007, 11:56:11 PM »

Yes he is. He admits his failings though to the point of being proud of them.

A is another one as well. He admits his obsessions but then in the long speach about his wants you do start to feel pity for him.

Archive 13-6-2001
Posted by: archive
« on: August 15, 2007, 11:55:32 PM »

For me the classic Anti-Hero is Hippolytus - he is a total pig, and yet we find ourselves sympathising with him to a degree - because as he points out, he is honest about how he is...

Archive 12-6-2001
Posted by: archive
« on: August 15, 2007, 11:54:54 PM »

I have to agree with Jess, though I guess the closest to a hero(ine) in Kanes work would be Strope, though even she had her dark moments.

As for hero's in the modern world. Well Yes and no. Most writers avoid Hero's. Though many embrace the Anti Hero, the avaridege Mr Smith who suddely is in a situation and copes, barly. I think that really the Hero dose have a place though more often the Hero has to be the person we know we are surpassing themselves.

Archive 11-6-2001
Posted by: archive
« on: August 15, 2007, 11:54:21 PM »

All the characters could, in their own way, be considered both 'heroes' and 'villains'. Sarah deliberately avoided the one-dimensionality of creating 'good' or 'bad' characters; they all do both good and bad, as do the characters of Phaedra's Love and Cleansed.

Archive 11-6-2001
Posted by: archive
« on: August 15, 2007, 11:53:44 PM »

I am doing an essay on Blasted and have to discuss the concept of 'hero.' Does it have any place in the drama of the modern world? In particular, I am looking at the soldier as the hero figure. The way in which he diminishes the classic ideal of what a soldier should stand for. Or is Cate a hero in her own right? Coping with rape, torture and violence in civil war. Whatever you comments I would love to hear them, I'm sure anything will be a great help!!!

xxx Laura xxx

Archive 11-6-2001