Hatch opens. Stark white." It's the closest thing to happiness, a scene change, or even concrete imagery, and seems to denote hope, or more of the undying pain the lead(s) are in. Kutchinsky, Serena (March 2015). "Sarah Kane, Sheffield Theatres: has her time come?". Prospect Magazine . Retrieved 25 February 2021. Sarah Kane interview in Rage and Reason: Women Playwrights on Playwriting by Heidi Stephenson and Natasha Langridge, Methuen, 1997 Kane gives no indication as to the required number of performers, or whether her dialogues are actual or internalised in a single consciousness. Venables sets the text for a group of eight: three sopranos and three mezzos, often singing in close polyphony, along with two percussionists from the ensemble Chroma, positioned above Hannah Clark’s consulting room set. They duel and duet above the singers’ heads as unsung passages are streamed across its walls. take place within the mind of the protagonist. Projections onto a mirror helped create a Rorschach-like effect. As evidence that the play encourages a wide variety of

A Tennessee Williams character says that we are all sentenced to solitary confinement inside our own skins. For Kane, a poetic metaphor became a literal truth. And it is her own tragic isolation she so fiercely articulates: "My life is caught in a web of reason spun by a doctor to augment the sane." It is a ruthlessly self-analytical theatrical poem. But within it there is evidence of Kane's gallows-humour. Therefore it was the composer that decided what parts of the text were to be musicalized; which were to be sung and how, which were spoken, or which to be projected. As a result of the various ways in which text was utilised, the resulting dramaturgy could be considered as one that was stratified with the text woven between instrumentalists, singers, and the scenography. An ebullience of all the ugly I have always suppressed and hidden, the mask dissolving but there were claws underneath and my face now has bloody stripes. Melancholia and hatred. Constant disagreement with everyone about nothing. They call it a void, an abyss, an endless pit. But that's all cliche. It's just my skin, flesh and bones retreating.

The sheer courage and passion that has been thrown behind this intelligent production of a daringly experimental playwinsout, and what lingers is its cry for love." a b c d e Boggan, Steve (23 September 1999). "Hospital let playwright repeat her suicide bid". The Independent . Retrieved 26 February 2021.

Psychosis opera is rawly powerful and laceratingly honest - review". The Telegraph . Retrieved 28 May 2016. Childline - 24-hour support for individuals under 19: Via BSL: https://childline.signvideo.net/ | www.childline.org.uk or call 0800 1111Psychosis) به معنای وضعیت روانی غیرطبیعی‌ای است که در روانپزشکی برای بیان حالت «از دست رفتن توانایی تشخیص واقعیت از خیال» بکار می‌رود. Eight days after Kane's death The Independent published an essay written by Paul Gordon titled "You don't have to be suicidal to be an artist, and it doesn't help". In the essay Gordon commented on the negative impact of how "our culture romanticises creativity and depression". He wrote that "The tragic suicide of the young playwright Sarah Kane is already finding its place in the mythology of the creative depressive: the artist - young or old, but preferably young - who creates public beauty out of personal suffering." He concluded his piece writing that "Only those who knew Sarah Kane personally can mourn her. Perhaps the rest of us could be less in thrall to the romantic ideas of which her death is prey and think more of the thousands of “nameless” suicides whose deaths each year shames us, as individuals and as a society." [19] Getting There, centres around Charlie, a deaf young carer who juggles school and friends with care routines, medication, and financial responsibilities at home. One thing everyone can agree on: nearly two decades after it was written, and as the circumstances of Kane’s own death recede, 4.48 deserves to be seen as the astonishing piece of theatre it is – as playful as it is confessional, simultaneously precise and improvisatory, roaring with life and wit and energy as it gazes unblinkingly at depression and death. Even as it invites us inside, it hangs on to its mysteries. Like everything Kane wrote, it will not be categorised.