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"The form is the meaning," Sarah Kane insisted when her first play Blasted opened at the Royal Court Theatre in London in January 1995.1 Back then Kane's iconoclastic "in-yer-face" realism prompted scores of offended spectators to walk out and puzzled critics to heap abuse onto the 23-year old playwright. Blasted was variously dismissed as a "disgusting feast of filth" and a "random tour in a chamber of horrors."2 Some fifteen years later, in October 2009 at the Tinnenpot Theater Ghent, the audience bravely sat through the various depictions of rape, torture, mutilation, and cannibalism-perhaps because it has already been hardened by a generation of "new brutalist" performances, or perhaps because with this particular production of Blasted, director Simon De Vos has set a fresh and original emphasis.

The form is the meaning: Notes on a Production of Sarah Kane’s Blasted by Sermoen