In this paper I will discuss and go into great depth on Sarah Kane’s Blasted and Branden Jacobs-Jenkins An Octoroon and the postdramatic theatre elements that are represented in both of them. Muller’s statement in Steegmans, After Postdramatic Theatre refers to a crisis of drama, which consists of the apparent inability to convey the complexity of the modern world. It’s that the problems of the present exceeds the representational capacity of the situational dramatic art. When we look at postdramatic theater all events are seen as symbols of themselves and therefore they are also equal in value. Rejection of character, the human behavior and believability help support what exactly postdramatic theatre is. Both reject the expected in an unsettling way in order to get the audience to think critically about taboo subjects. Both authors manipulate reality and use extremism to conduct and encourage controversial discussions, which ultimately is what one would expect from a postdramatic theatrical work.
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In Blasted we see Sarah Kane try to tell us about everything that represent the traumas of war and loss. Using that war as a guide she shows all of the horrible disasters through portraying torture, bombings, hunger, inhumanity, sexual violence, abuse, and rape.
An Octoroon is a play written by Branden Jacobs-Jenkins. It is an adaptation of Dion Boucicault's The Octoroon, which premiered in 1859. Jacobs-Jenkins reworks Boucicault's play using its original plot and characters, as well as much of the same dialogue. He critiques its portrayal of race using Brechtian terms and elements. Jacobs-Jenkins considers An Octoroon an analysis of theatre and exploration how theatre interacts with questions of identity today, along with showing a sense of postdramatic
In Blasted we see Sarah Kane try to tell us about everything that represent the traumas of war and loss. Using that war as a guide she shows all of the horrible disasters through portraying torture, bombings, hunger, inhumanity, sexual violence, abuse, and rape.
An Octoroon is a play written by Branden Jacobs-Jenkins. It is an adaptation of Dion Boucicault's The Octoroon, which premiered in 1859. Jacobs-Jenkins reworks Boucicault's play using its original plot and characters, as well as much of the same dialogue. He critiques its portrayal of race using Brechtian terms and elements. Jacobs-Jenkins considers An Octoroon an analysis of theatre and exploration how theatre interacts with questions of identity today, along with showing a sense of postdramatic