4. The difference between In-Yer-Face and commercial/popular theatre in Europe in the 1900s. “There was a surge of interest in the more radical elements of drama in the commercial theatre and could be perceived as the ‘middlebrow’ and yet still worthy of attention” (D'Monte, 2015:7). Commercial theatre allowed more spectacle as a whole than In-Yer-Face theatre. It draws more attention from the audience in order to get the correct message across where as In-Yer-Face theatre forced the audience to watch and participate to a certain extent. Commercial theatre was more family orientated so all ages could understand and enjoy where In-Yer-Face theatre dealt with a lot of sexual and vigorous language. “There was a quick note to change in audience tastes and his provision …show more content…
Two key figure that contributed to the In-Yer-Face movement. 5.1. Playwright 1 5.1.1. Sarah Kane “Sarah Kane blasted onto the theatre scene in January 1995 with her play Blasted” (Buchler, 2008:42). She was known to constantly challenge the theatre and what it had to offer and why and how. According to Sierz (2005): “Quintessential 1990s writers whose debut, Blasted, set off a massive controversy which put the new theatrical sensibility on the map. Not only did Kane produce a body of work which constantly challenged the restraints of form, but she also worked hard at teaching other writers”. She wrote a lot of well-known plays such as 4.48 Psychosis and Blasted where she created her own type of writing. This stunned the audience and this is how she became one of the faces of In-Yer-Face theatre (Sierz, 2005). According to Buchler (2008:51): “Her work shows elements of the theatre of cruelty. This resonates strongly with Kane’s own moral outrage and her compulsion to express it in her work, especially in Blasted. By constructing theatre as something visceral and in direct contact with thought and feeling she provided an audience some insight into violence that is raw, and untainted with