By Sarah Kane
4.48 Psychosis sees the last word narrowing of Sarah Kane's concentration in her paintings. The fight of the self to stay intact has moved in her paintings from civil struggle, into the family members, into the couple, into the person, and eventually into the theatre of phychosis: the brain itself. This play used to be written in 1999 almost immediately ahead of the playwright took her personal existence at age 28. at the web page, the piece seems like a poem. No characters are named, or even their quantity is unspecified. it can be a trip via one person's brain, or an interview among a physician and his patient.
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Additional info for 4.48 Psychosis
The mix of family, friends and newcomers, the atmosphere of experiment and playful innovation, helped to foster the spirit of a company and school linked by connections which went deeper than professional and commercial need. The work of the school was so new and innovative, that there were few markers for Copeau, Bing and the other teachers to follow other than their own instincts and experience, and Copeau’s knowledge of developments elsewhere in Europe. Inevitably, as one of his students noted, ‘discovery became the common task of master and student’ (Michel Saint-Denis in Kusler 1979: 30), with Copeau counting on his students to help him move the work forward.
When the troupe was disbanded Saint-Denis founded the Compagnie des Quinze with his former colleagues and the young company achieved considerable success. He settled in London in the early 1930s and alongside his achievements as a director he also co-founded the influential Old Vic Theatre School. He had a profound influence on the development of actor training in Europe and North America and was one of the original artistic directorate of the Royal Shakespeare Company. Within a few months, Copeau, assisted by Saint-Denis, had drawn together a new smaller group from the few followers who had stayed on in Burgundy.
Copeau’s project to rejuvenate the theatre had finally reached the fulfilment of its first phase; over the next three decades his former pupils continued the work they had begun together – establishing important regional and national theatre initiatives and passing on the skills and techniques they had acquired under Copeau. POPULAR THEATRE, THE COMÉDIE-FRANÇAISE, AND SACRED DRAMA (1929–1949) Once again Copeau’s personal theatrical mission was drifting into disarray. In a manner reminiscent of his departure from the VieuxColombier, the end of the Burgundy experiment came quite quickly and unexpectedly.