Witnesses Inside/Outside the Stage: The Purpose Of Representing Violence In Edward Bond's Saved (1965) And Sarah Kane's Blasted (1995) Testigos Dentro/Fuera Del Escenario: El Objetivo De La Representación De La Violencia En Saved (1965) De Edward Bond Y Blasted (1995) De Sarah Kane
In spite of the thirty years span of time between the two productions, Edward Bond's Saved and Sarah Kane's Blasted provoked a similar outburst of reactions when they first opened at the Royal Court Theatre in 1965 and 1995, respectively. Depicting various types of violence onstage, the tw...
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| Format: | Article |
| Language: | English |
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Universidad Pedagógica Nacional
2009-06-01
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| Series: | Folios |
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| Online Access: | http://www.scielo.org.co/scielo.php?script=sci_arttext&pid=S0123-48702009000100009 |
| _version_ | 1797643166047797248 |
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| author | Laura López Peña |
| author_facet | Laura López Peña |
| author_sort | Laura López Peña |
| collection | DOAJ |
| description | In spite of the thirty years span of time between the two productions, Edward Bond's Saved and Sarah Kane's Blasted provoked a similar outburst of reactions when they first opened at the Royal Court Theatre in 1965 and 1995, respectively. Depicting various types of violence onstage, the two plays aim at making spectators connect different forms of cruelty so that they can be moved to react against them in real life. In order to do so, both plays highlight the question of witnessing at two levels: on the one hand, at the level of character, the plays portray individuals who witness, suffer and/or inflict brutality, becoming, thus, participants in the ongoing cycles of violence onstage; whereas, on the other hand, at the level of audience, spectators too become direct -and silent- witnesses to the plays and their depicted cruelties, at the same time that they are called to react against the horrors they have experienced in the theatrical fictional world. The aim of this paper is, therefore, to analyze how Saved and Blasted engage in arising spectators' awareness of their own passivity in front of several forms of violence, and invite their audience to actively denounce not only wars and conflicts taking place in distant places but also in their own immediate surroundings.<br>A pesar de los treinta años que separan ambas producciones, Saved de Edward Bond y Blasted de Sarah Kane provocaron reacciones similares cuando fueron estrenadas en el Royal Court Theatre en 1965 y 1995, respectivamente. Mediante la representación de varios tipos de violencia en escena, ambas obras pretenden conseguir que sus espectadores establezcan paralelismos entre las situaciones teatrales y las de la vida real para que, finalmente, sean capaces de rechazar la violencia en general y sus distintas manifestaciones en la sociedad. Para lograr este objetivo, tanto Saved como Blasted resaltan la cuestión de testimoniar a dos niveles. Por un lado, a nivel de personaje, ambas obras incluyen individuos que presencian, sufren y/o infligen algún tipo de crueldad y que, por lo tanto, participan en los continuos ciclos de violencia representados en el escenario. Por otro lado, a nivel de espectador, el público se convierte también en un testigo directo -y en un participante silencioso- de la obra y de la violencia que en ella se muestra. El propósito de este ensayo es, pues, analizar cómo Saved y Blasted invitan a sus espectadores a darse cuenta de su propia pasividad ante distintos tipos de injusticias con el objetivo de que éstos, eventualmente, sean capaces de denunciarlas y de actuar contra ellas en la sociedad. |
| first_indexed | 2024-03-11T14:10:47Z |
| format | Article |
| id | doaj.art-f8c40b14495f4bd3a8e299fd44e4b45b |
| institution | Directory Open Access Journal |
| issn | 0123-4870 |
| language | English |
| last_indexed | 2024-03-11T14:10:47Z |
| publishDate | 2009-06-01 |
| publisher | Universidad Pedagógica Nacional |
| record_format | Article |
| series | Folios |
| spelling | doaj.art-f8c40b14495f4bd3a8e299fd44e4b45b2023-11-02T00:20:26ZengUniversidad Pedagógica NacionalFolios0123-48702009-06-0129111118Witnesses Inside/Outside the Stage: The Purpose Of Representing Violence In Edward Bond's Saved (1965) And Sarah Kane's Blasted (1995) Testigos Dentro/Fuera Del Escenario: El Objetivo De La Representación De La Violencia En Saved (1965) De Edward Bond Y Blasted (1995) De Sarah KaneLaura López PeñaIn spite of the thirty years span of time between the two productions, Edward Bond's Saved and Sarah Kane's Blasted provoked a similar outburst of reactions when they first opened at the Royal Court Theatre in 1965 and 1995, respectively. Depicting various types of violence onstage, the two plays aim at making spectators connect different forms of cruelty so that they can be moved to react against them in real life. In order to do so, both plays highlight the question of witnessing at two levels: on the one hand, at the level of character, the plays portray individuals who witness, suffer and/or inflict brutality, becoming, thus, participants in the ongoing cycles of violence onstage; whereas, on the other hand, at the level of audience, spectators too become direct -and silent- witnesses to the plays and their depicted cruelties, at the same time that they are called to react against the horrors they have experienced in the theatrical fictional world. The aim of this paper is, therefore, to analyze how Saved and Blasted engage in arising spectators' awareness of their own passivity in front of several forms of violence, and invite their audience to actively denounce not only wars and conflicts taking place in distant places but also in their own immediate surroundings.<br>A pesar de los treinta años que separan ambas producciones, Saved de Edward Bond y Blasted de Sarah Kane provocaron reacciones similares cuando fueron estrenadas en el Royal Court Theatre en 1965 y 1995, respectivamente. Mediante la representación de varios tipos de violencia en escena, ambas obras pretenden conseguir que sus espectadores establezcan paralelismos entre las situaciones teatrales y las de la vida real para que, finalmente, sean capaces de rechazar la violencia en general y sus distintas manifestaciones en la sociedad. Para lograr este objetivo, tanto Saved como Blasted resaltan la cuestión de testimoniar a dos niveles. Por un lado, a nivel de personaje, ambas obras incluyen individuos que presencian, sufren y/o infligen algún tipo de crueldad y que, por lo tanto, participan en los continuos ciclos de violencia representados en el escenario. Por otro lado, a nivel de espectador, el público se convierte también en un testigo directo -y en un participante silencioso- de la obra y de la violencia que en ella se muestra. El propósito de este ensayo es, pues, analizar cómo Saved y Blasted invitan a sus espectadores a darse cuenta de su propia pasividad ante distintos tipos de injusticias con el objetivo de que éstos, eventualmente, sean capaces de denunciarlas y de actuar contra ellas en la sociedad.http://www.scielo.org.co/scielo.php?script=sci_arttext&pid=S0123-48702009000100009Teatro británico contemporáneoEdward BondSarah KaneviolenciatestimoniarContemporary British theaterEdward BondSarah Kaneviolencewitnessing |
| spellingShingle | Laura López Peña Witnesses Inside/Outside the Stage: The Purpose Of Representing Violence In Edward Bond's Saved (1965) And Sarah Kane's Blasted (1995) Testigos Dentro/Fuera Del Escenario: El Objetivo De La Representación De La Violencia En Saved (1965) De Edward Bond Y Blasted (1995) De Sarah Kane Folios Teatro británico contemporáneo Edward Bond Sarah Kane violencia testimoniar Contemporary British theater Edward Bond Sarah Kane violence witnessing |
| title | Witnesses Inside/Outside the Stage: The Purpose Of Representing Violence In Edward Bond's Saved (1965) And Sarah Kane's Blasted (1995) Testigos Dentro/Fuera Del Escenario: El Objetivo De La Representación De La Violencia En Saved (1965) De Edward Bond Y Blasted (1995) De Sarah Kane |
| title_full | Witnesses Inside/Outside the Stage: The Purpose Of Representing Violence In Edward Bond's Saved (1965) And Sarah Kane's Blasted (1995) Testigos Dentro/Fuera Del Escenario: El Objetivo De La Representación De La Violencia En Saved (1965) De Edward Bond Y Blasted (1995) De Sarah Kane |
| title_fullStr | Witnesses Inside/Outside the Stage: The Purpose Of Representing Violence In Edward Bond's Saved (1965) And Sarah Kane's Blasted (1995) Testigos Dentro/Fuera Del Escenario: El Objetivo De La Representación De La Violencia En Saved (1965) De Edward Bond Y Blasted (1995) De Sarah Kane |
| title_full_unstemmed | Witnesses Inside/Outside the Stage: The Purpose Of Representing Violence In Edward Bond's Saved (1965) And Sarah Kane's Blasted (1995) Testigos Dentro/Fuera Del Escenario: El Objetivo De La Representación De La Violencia En Saved (1965) De Edward Bond Y Blasted (1995) De Sarah Kane |
| title_short | Witnesses Inside/Outside the Stage: The Purpose Of Representing Violence In Edward Bond's Saved (1965) And Sarah Kane's Blasted (1995) Testigos Dentro/Fuera Del Escenario: El Objetivo De La Representación De La Violencia En Saved (1965) De Edward Bond Y Blasted (1995) De Sarah Kane |
| title_sort | witnesses inside outside the stage the purpose of representing violence in edward bond s saved 1965 and sarah kane s blasted 1995 testigos dentro fuera del escenario el objetivo de la representacion de la violencia en saved 1965 de edward bond y blasted 1995 de sarah kane |
| topic | Teatro británico contemporáneo Edward Bond Sarah Kane violencia testimoniar Contemporary British theater Edward Bond Sarah Kane violence witnessing |
| url | http://www.scielo.org.co/scielo.php?script=sci_arttext&pid=S0123-48702009000100009 |
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