Is it possible to write an IYF play with a different geo-political and cultural setting by using IYF techniques originally applied by Sarah Kane in her play Blasted?

Abstract

This study aims to explore the 1990s movement known as In--___]Yer--___]Face theatre and looks into the written techniques used by the playwrights of the time, explicitly looking into Sarah Kane___fs Blasted, to determine whether it is possible to write a new contemporary In--___]Yer--___]Face play using a different geographical, political and cultural background setting by applying the techniques found. The research that supported this study was accompanied by a new dramatic play and an author___fs reflective section which speaks about how In--___]Yer--___]Face techniques were used to develop the new piece of writing, and also how setting the new play in a different geographical, political and cultural background affected its writing. The main objective of this project is to investigate if it is possible to write an In--___] Yer--___]Face play set in a different geo--___]political background by applying In--___]Yer--___]Face techniques to the writing. A conclusion will be determined by reflecting upon the research and the writing of the new play. This dissertation illustrates that writing an In--___]Yer--___]Face play can be challenging and runs the risk of falling into a cousin umbrella, thus creating a hybrid between political, documentary and In--___]Yer--___]Face new play, that could be seen as relevant to today___fs political state in many countries.