By Sarah Kane
Set in an unnamed urban from which voices and pictures spring, Crave charts the disintegration of a human brain below the pressures of affection, loss and desire.
Produced by way of Paines Plough and brilliant Ltd (Guy Chapman and Paul Spyker), Crave premiered on the Traverse Theatre for the 1998 Edinburgh pageant. It got its English prime on the Royal courtroom Theatre in September 1998.
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Additional resources for Crave (Modern Plays)
Ancient scholars knew of 130 plays attributed to Sophocles, of which they judged seven (or, according to another source, seventeen) to be spurious. Seven plays survive (details follow); there are substantial papyrus fragments of the satyr-plays The Trackers (Ichneutai) and Inachus and the tragedies Eurypylus and Niobe, but neither papyri nor ancient quotations give us anything like as much material for Sophocles as they do for Euripides. 451) Deianeira, wife of Heracles, after having had no news from him for ﬁfteen months, learns that he has won a great victory, but also that he is bringing home a young concubine.
He makes extensive use of marching anapaests as preludes to (and occasionally substitutes for) choral odes, and also in quasi-epirrhematic alternation with lyrics. Aeschylus is consistently bold and imaginative in exploiting the visual aspects of drama. The contrast between the sumptuous dress of the Persian 6 Ionic metre is based on the unit – –. 38 THE AUTHORS Queen at her ﬁrst, carriage-borne entry and the return of Xerxes alone and in rags; the chaotic entry of the chorus in Seven; the African-looking, exotically dressed Danaids and their confrontation with brutal Egyptian soldiers; the purple cloth over which Agamemnon walks to his death, and the display of his corpse in the bathtub with Cassandra beside him and Clytaemestra ‘standing where I struck’ (a scene virtually repeated in Choephoroi with a different killer and different victims); the Erinyes presented anthropomorphically on stage (probably for the ﬁrst time), yet tracking Orestes like hounds by the scent of blood; the procession that ends the Oresteia, modelled on that at the Great Panathenaea – these are far from exhausting the memorable visual images in only six or seven plays, quite apart from numerous careful touches of detail (for example, at the end of Agamemnon where Aegisthus, that ‘woman’ of a man, alone of those on stage has neither weapon nor staff in his right hand).
36), leaving seventy-six genuine plays of which ten were certainly, and nine probably, satyric – exactly the right proportion to make up nineteen City Dionysia productions, of which 33 THE AUTHORS thirteen won first prize. Six of these seventy-six plays, plus Prometheus Bound, survive complete or nearly so; in addition there are seven plays of which there survive substantial papyrus fragments1 – namely, The Carians or Europa, The Myrmidons, Niobe, Semele or The Water-carriers, and the satyrplays The Isthmian Tourists (Theoroi or Isthmiastai), The Netfishers (Diktyoulkoi) and Prometheus the Firekindler.