Abstract
This article analyses the chief characteristics of Sarah Kane's dramaturgy both its textualand scenic dimensions. Links are established with the English theatrical trend of the 90's, known as in yer face, and the influences of Antonin Artaud on Kane's conception of theatre as 'a spectacle of pain' comes under consideration. This study basically focuses on Kane's piece, Phaedra's Love , while considering other pieces of the playwight.
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