http://www.peren-revues.fr/coupdetheatre/818 This contribution situates itself within a wider research project on the reception and reproduction of Sarah Kane’s drama in Italy. If theatre practitioners in the UK may initially have shown some reluctance in bringing Kane’s work to the stage, the case was different across the Channel. Though this is seldom acknowledged in the burgeoning critical literature, Italian theatre-makers have been at the forefront in driving the process whereby Kane’s oeuvre was quickly taken on by the European experimental scene as an iconic expression of the contemporary Zeitgeist. This essay focuses on 4.48 Psychosis, by far the most widely performed among Kane’s plays in Italy (and elsewhere). Since 2001, when it was first presented to Italian audiences, Kane’s script has received over thirty professional productions. Perhaps even more than for its unrivalled popularity, however, 4.48 Psychosis stands out as a unique case because of the readiness with which it has been reworked and reshaped by Italian theatre practitioners, with adaptations, rewrites and even parodies following hard on the heels of the play’s first stagings. With their tendency to merge different forms and agents of creativity, the more innovative Italian performances of 4.48 Psychosis seem specifically designed to challenge the distinction between text-based and devised theatre and, more in general, to invite a perception of theatre-making as an all-inclusive collaborative endeavour. Numéros Crossing Borders: Anglophone Theatre in Europe Part One: Across Languages/Cultures fr jeu., 06 févr. 2025 11:44:12 +0100 mer., 08 juil. 2026 12:10:58 +0200 http://www.peren-revues.fr/coupdetheatre/818 0