Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi (Dec 2017)
A Web of Power Circulating in Every Direction: Deleuze and Guattarian Reading of Sarah Kane's Cleansed
Abstract
During the 1990s, a new movement on British stages emerged owing to the cultural, political, ideological, and social changes prevalent in British society. Despite the multiplicity of denitions loosely attributed to this movement, the term “in-yer-face theatre,” appears to be more commonly well-received and more encompassing. As an overt reaction to the changes taking place in British society at the time, newly emerging dramatists express their disillusionment, nonconformity through transgressing the bounds of purported decency in theatre, subverting conventional dramatic representations and techniques with the use of striking and challenging imagery. Belonging to this in-yer-face oeuvre, Sarah Kane, has given voice to several contemporary issues, including survival under harsh conditions like in war zone, indifference and desensitization to war, the power imbalance both in public and private spheres, commodied love and sex, gender and identity politics, as well as growing consumerism and repercussions in the society. Her third play Cleansed (1998) takes place in a stiing and captivating educational institution where characters in the play are allegedly disciplined and trained by violence against their unconformities. While criticizing the prevalent oppressive educational system that diminishes desire and unique individuality by seeking to subjugate students to the limits of conformity, Sarah Kane topsy-turvies dualistic thoughts based on societal norms between female/male, self/other, victim/victimized, body/mind, inside/outside oppressor/oppressed, victim/perpetrator, natural/unnatural, normal/abnormal, moral/immoral, and sane/insane. Despite the proclivity to interpret her plays fraught with pessimism and hopelessness towards future, this article recontextualizes her play Cleansed using Gilles Deleuze and Félix Guattari's positive and life-afrming philosophy, which I believe, will open up new alternative visions in the articulation of her play with regards to the question she raises about the xed nature of identity, long-standing norms of sexuality, and gender inscription on the bodies.
