By Sarah Kane
4.48 Psychosis sees the last 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 presently sooner than the playwright took her personal lifestyles at age 28. at the web page, the piece appears like a poem. No characters are named, or even their quantity is unspecified. it may be a trip via one person's brain, or an interview among a physician and his patient.
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This is what makes it possible to exercise power over the refugee without the need for the speaker’s presence. : 16). In France illegal immigrants are often referred, to as sans papiers, literally ‘those without papers’ and in the US illegal immigrants are designated as ‘undocumented aliens’. This is a good example of the ‘literacy of bureaucracy’ (Conquergood, 2002: 147) and points to the irony that, although refugees are bombarded with some papers, those papers that matter, passports or letters offering refuge, are withheld.
Bureaucratic performance then pictures the asylum seeker as the ‘man from the country’ who ‘sits before the door of the law’ awaiting judgment on their claims for asylum: it also demonstrates how refugees have no option but to ‘sit and wait’. However, in this action, they are ineluctably placing authority with those on the other side of the closed door of the law and, by extension, of the entire judicial and political structure that would grant them their request for safety and asylum. Not only are they conjuring the law as they sit and wait, they are conjuring themselves, or bringing themselves into being as refugees.
They also ignore the desire for refugees to represent themselves in certain ways that do not conform to the legal or cultural expectations placed upon them. However, despite the inadequacy of legal definitions to adequately reflect complex human experience, they strongly condition that experience and the many ways in which that experience is reflected on and expressed. My argument is that most, if not all, contemporary refugee theatre and performance is conditioned by this situation. Who is ‘a refugee’?