By Sarah Kane
4.48 Psychosis sees the final word narrowing of Sarah Kane's concentration in her paintings. The fight of the self to stay intact has moved in her paintings from civil struggle, into the kin, into the couple, into the person, and at last into the theatre of phychosis: the brain itself. This play used to be written in 1999 almost immediately earlier than the playwright took her personal existence at age 28. at the web page, the piece appears like a poem. No characters are named, or even their quantity is unspecified. it can be a trip via one person's brain, or an interview among a physician and his patient.
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Extra info for 4.48 Psychosis
Yet there are artists who can stay at the piano eight to ten hours daily, no matter what. They can obviate all else, apparently, and if they can escape the physical abuse to their bodies, that gives them a great advantage. Some artists need more time than others; their physical apparatus requires more repetition to absorb new patterns. I have heard stories of pianists who practiced a thorny passage hundreds of times while reading a novel propped up on the piano. That would never work for me. Neither would the novel be savored, nor would I notice the little threadbare places that needed technical reweaving here and there; the alternate fingering or approach that might suggest itself with full devotion to the task, would all be lost.
Just substitute my thrush for Chopin's nightingale. As no recital about nature and music would be complete without the Impressionists, I programmed Debussy's Reflets dans l'eau. The Impressionist painters translated nature into light and color, and the composers responded sensuously with tone paintings. " Debussy created evocative pictures from what he called "atmospheric vibrations," and in his work, water seems to play the most significant role, as in Jardins sous la pluie, La cathédrale engloutie, and others.
It is all there in the music, and although I am highly visual, I find that the best approach to playing it is not to "copy" nature but to become infused with the feelings that nature evokes. Page 23 Because of my interest in birds, I worked at putting together a grouping of music inspired by bird songs. The list is endless, from Couperin's Le coucou to Liszt's Prédication des oiseaux, Ravel's Oiseaux tristes, Bartók's Musiques nocturnes, and Messiaen's Catalogue des oiseaux. Messiaen was, as I am, an amateur birdwatcher, but he took courses in ornithology until he could recognize the calls of more than five hundred species.
4.48 Psychosis by Sarah Kane