Dramanın Ölümü: Sarah Kane'in Blasted, Crave ve 4.48 Psychosis oyunlarında entropi

Entropy is the degree of disorder and randomness in a system. According to the second rule of thermodynamics, entropy in a closed system increase until it reaches the maximum and dies. This principle reflects a universal tendency for elements in the universe to shift from order to disorder. The implications of entropy permeate various facets of life, making it a comprehensive concept applicable across diverse disciplines, including literature. This fundamental notion easily applies to the realm of theatre. In this thesis, the central aim is to illuminate the intimate relationship between entropy and the shift from dramatic theatre to postdramatic theatre, as revealed through a detailed analysis of Sarah Kane's three emblematic plays: Blasted, Crave, and 4.48 Psychosis. This thesis initiates with an examination of Blasted, a play that demonstrates Kane's early investigation of in-yer-face experimentation within the framework of traditional dramatic form. Although Blasted has a fractured storyline and explores challenging subjects, it retains a coherent structure that guides the audience through its complex aspects via a clear roadmap. This state of comparatively low entropy serves as a basic standard for evaluating the increasing disorder shown in Kane's later works. The examination of Crave demonstrates a deliberate deviation from traditional dramatic components, as demonstrated by the conscious absence of plot, stage directions, and structural unity. The deliberate acceptance of ambiguity, fragmentation, and poetic abstraction indicates a significant rise in entropy, requiring a greater degree of active and interpretive involvement from the audience. This change redefines the theatrical contract, making meaning a shared effort between the playwright and the audience. With 4.48 Psychosis, Sarah Kane takes a bold step further into the realm of chaos, extending the structural experiments initiated in her previous work, Crave. This play's total rejection of all the traditional conventions of dramatic theatre marks it as Kane's most entropic work. In embracing this extreme level of disorder and catastrophe, Kane challenges her audience to grapple with a narrative that avoids the safety of traditional storytelling, delving deep into the fragmented psyche of its characters. 4.48 Psychosis not only tests the boundaries of theatrical form but also serves as a compelling example of how entropy can be harnessed to create a disorienting and thought-provoking experience for the audience. By conducting an in-depth examination, this thesis aims to clarify how Kane uses the power of entropy, using it not only as a measure of disorder but also as a potent instrument for exploring the complexities of the human condition and the revolutionary power of theatre. Keywords: Sarah Kane, Blasted, Crave, 4.48 Psychosis, entropy, postdramatic theatre.