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 presently earlier than the playwright took her personal existence at age 28. at the web page, the piece feels 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 resources for 4.48 Psychosis
1 [ 13 ] 14 The Beginning of a Lifelong Journey At first, the Gorelik family lived under an “L” bridge in a one-room apartment near the Seventy-second Street station, and later they settled in a predominantly Irish neighborhood on East Seventy-third Street. 3 Early exposure to this cruel form of “othering” left an indelible mark on the boy; it was probably here on the East Side that young Max’s tendency toward paranoia and feelings of persecution originated. Likewise, Gorelik’s scrappy nature and his legendary irascibility undoubtedly began at an early age.
He would ruthlessly pit his theories and ideas against those of the person he admired, ultimately rejecting their views, even coming to revile them. Gorelik’s badgering, often interpreted as downright insulting, undoubtedly affected his working relationships with others. 29 There, with lots of sweat and labor, Gorelik laid the foundation for his career. For the next four or five years, he worked as an “extra,” an assistant stage manager, and a stage electrician while he studied with Robert Edmond Jones and Norman Bel Geddes.
As a self-identified “outsider” and as a theatre practitioner who worked for many production companies, Max Gorelik offers a unique perspective with which to view these enterprises. My study, then, presents Max Gorelik’s critique of the American theatre of his time, positioning him as a lens through which to view the changing American theatre, (re)positioning him in the context of American theatre history. It is an expression of the (re)discovery of Max Gorelik in the twentyfirst century, with hindsight and using the attendant critical tools we are now able to employ.
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