Last in a long line: literary kleptomania in the process of the play "doze."

Abstract

Averse to labels and ready-made formulas, Sarah Kane wanted to blow up the theatre, even literally: her dramatic work created a great fissure in the British scene. Her debut with Blasted provoked violent and misogynistic criticism that affected the reception of her subsequent plays – Phaedra’s Love, Cleansed, and Crave. Sarah Kane’s search for theatrical viscerality subverted categories considered imperative, reaching its peak in 4.48 Psychosis: in this last work, there is no longer a plot, characters, or rubrics, as the boundaries between form and content have been dissolved. It is also in 4.48 that Sarah names one of her practices of creation, the literary kleptomania – which is precisely the trigger for the creative process of solo doze., developed during a master's research in 2023. The purpose of this text, written from the communication presented at the 16º Congresso Internacional da Associação dos Pesquisadores em Crítica Genética, is to share traces of the creative trajectory of doze., a process that involved not only theatrical and scenic aspects, but also issues of literary theory and translation studies, integrating them with the work of acting and performance and its aspects that are both technical and subjective.