Almost ten years after his death, Sarah Kane is still alive. His work, composed of five parts, is played everywhere in the world, from South America to Eastern Europe, in large theaters like the little ones. If his voice still resonates since death is no doubt that his words do not agree, but are engraved on the skin of those who receive them. And rather than endure the pain to delete them - brush metal perhaps, as does Marcia in the back of Billy (see Skin, 1995) - we chose to burn at the same marks our own voice, as Kane pulled from his wounds his vindictive writing. Sarah Kane died when his writings leave indifferent. When the discomfort subsides, when all will be deaf to his cynicism cleaner, blind to its realism sorely human body (and perhaps ours) will return to dust.
For life goes on, 13 students and graduate students studying literature at UQAM chose to withdraw their heads to literally put their bodies on the work of Kane's text, to produce it for a Requiem . Edited by Aglaia Romanovskaia, illes the resurrected once again to honor its sober look at the world today, to feel alive through his death and leave him as an offering, elleux part of ourselves. That may mean playing Sarah Kane when you're not trained interpreter? Is there a risk of not emerge unscathed? It is likely that this risk is great, but certainly less than that of being, by dint of time, e-immunized against the horrors of life and everyday violence.
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