De la mise au silence à la prise de parole : la voix féminine de Martin Crimp à Sarah Kane
Dramatic experiments with the voice in the theatres of Martin Crimp (Attempts on Her Life, 1997; Fewer Emergencies, 2005) and Sarah Kane (Crave, 1998; 4.48 Psychosis, 2000) fall within the scope of a post-Beckettian quest for new formal constraints for the text and the stage. While the dramatic spac...
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Centre de Recherche "Texte et Critique de Texte"
2013-07-01
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| Series: | Sillages Critiques |
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| Online Access: | https://journals.openedition.org/sillagescritiques/2963 |
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| author | Solange Ayache |
| author_facet | Solange Ayache |
| author_sort | Solange Ayache |
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| description | Dramatic experiments with the voice in the theatres of Martin Crimp (Attempts on Her Life, 1997; Fewer Emergencies, 2005) and Sarah Kane (Crave, 1998; 4.48 Psychosis, 2000) fall within the scope of a post-Beckettian quest for new formal constraints for the text and the stage. While the dramatic space, for both Crimp and Kane, is no longer a physical space but has become, to use Crimp’s words, “a mental space”, it appears that the scenic space has transformed into a sheer vocal space. This article looks at the importance of the voice in Crimp’s and Kane’s texts, focusing on the intervocal and transdramatic space created between their plays around the voice of a woman both central and spectral. No longer a conventional character, the female subject, whose voice is either heard as a broken embodied token of a disturbed mind, or is silenced and replaced by the alienating narratives of others, is but a mere shadow, vestige or vocal image of herself. Polyonymous in Attempts on Her Life, anonymous in 4.48 Psychosis, “Anne”, as I will argue, is eclipsed in a post-traumatic silence in Crimp’s play, then restored on the front of a sacrificial stage in Kane’s, regaining her own power of speech in a poetic language made of echoes. Her voice, fully expanding in the space although pierced with blanks and holes, is the ultimate dramatic event. In these two plays as well as in Kane’s Crave and Crimp’s Fewer Emergencies, the voice thus appears at the core of what could be called a “psychopoetics” of the stage. |
| format | Article |
| id | doaj-art-bf0b4bdefa634912a5604ee58f0c4efc |
| institution | Kabale University |
| issn | 1272-3819 1969-6302 |
| language | English |
| publishDate | 2013-07-01 |
| publisher | Centre de Recherche "Texte et Critique de Texte" |
| record_format | Article |
| series | Sillages Critiques |
| spelling | doaj-art-bf0b4bdefa634912a5604ee58f0c4efc2025-01-30T13:46:48ZengCentre de Recherche "Texte et Critique de Texte"Sillages Critiques1272-38191969-63022013-07-011610.4000/sillagescritiques.2963De la mise au silence à la prise de parole : la voix féminine de Martin Crimp à Sarah KaneSolange AyacheDramatic experiments with the voice in the theatres of Martin Crimp (Attempts on Her Life, 1997; Fewer Emergencies, 2005) and Sarah Kane (Crave, 1998; 4.48 Psychosis, 2000) fall within the scope of a post-Beckettian quest for new formal constraints for the text and the stage. While the dramatic space, for both Crimp and Kane, is no longer a physical space but has become, to use Crimp’s words, “a mental space”, it appears that the scenic space has transformed into a sheer vocal space. This article looks at the importance of the voice in Crimp’s and Kane’s texts, focusing on the intervocal and transdramatic space created between their plays around the voice of a woman both central and spectral. No longer a conventional character, the female subject, whose voice is either heard as a broken embodied token of a disturbed mind, or is silenced and replaced by the alienating narratives of others, is but a mere shadow, vestige or vocal image of herself. Polyonymous in Attempts on Her Life, anonymous in 4.48 Psychosis, “Anne”, as I will argue, is eclipsed in a post-traumatic silence in Crimp’s play, then restored on the front of a sacrificial stage in Kane’s, regaining her own power of speech in a poetic language made of echoes. Her voice, fully expanding in the space although pierced with blanks and holes, is the ultimate dramatic event. In these two plays as well as in Kane’s Crave and Crimp’s Fewer Emergencies, the voice thus appears at the core of what could be called a “psychopoetics” of the stage.https://journals.openedition.org/sillagescritiques/2963Martin CrimpSarah KaneAttempts on Her Life4.48 Psychosispsychopoeticsmental space |
| spellingShingle | Solange Ayache De la mise au silence à la prise de parole : la voix féminine de Martin Crimp à Sarah Kane Sillages Critiques Martin Crimp Sarah Kane Attempts on Her Life 4.48 Psychosis psychopoetics mental space |
| title | De la mise au silence à la prise de parole : la voix féminine de Martin Crimp à Sarah Kane |
| title_full | De la mise au silence à la prise de parole : la voix féminine de Martin Crimp à Sarah Kane |
| title_fullStr | De la mise au silence à la prise de parole : la voix féminine de Martin Crimp à Sarah Kane |
| title_full_unstemmed | De la mise au silence à la prise de parole : la voix féminine de Martin Crimp à Sarah Kane |
| title_short | De la mise au silence à la prise de parole : la voix féminine de Martin Crimp à Sarah Kane |
| title_sort | de la mise au silence a la prise de parole la voix feminine de martin crimp a sarah kane |
| topic | Martin Crimp Sarah Kane Attempts on Her Life 4.48 Psychosis psychopoetics mental space |
| url | https://journals.openedition.org/sillagescritiques/2963 |
| work_keys_str_mv | AT solangeayache delamiseausilencealaprisedeparolelavoixfemininedemartincrimpasarahkane |