Working on the performance, we approached Kane’s dramas as a drastic and painful multidimensional vision of man. An important assumption was abandonment of dialogues and clear dramatic structure: our goal was to penetrate into the core of Sarah Kane’s work, to the sphere of experience which is like a dream that precedes words. A dream that yielded “Cleansed”, “Phaedra’s Love” and “Crave”. We wanted to see Kane’s protagonists on a more intense plane: as people stripped of words, in their basic impulses and desires. Thus, the performance is not an interpretation of Kane’s dramas; it is a jump into the darkness of her work.

The performance continues a research project initiated two years ago under the name of “Taniec śniącego ciała” [Dance of the Dreaming Body] whose aim is to introduce ideas and methodology of Arnold Mindell’s process-oriented psychology into theatrical practice. A very important element of the undertaking was permanent collaboration with the Warsaw-based Akademia Psychologii Zorientowanej na Proces [Academy of Process-Oriented Psychology]; Agnieszka Wróblewska and Tomasz Teodorczyk, outstanding experts in the field, provided supervision and necessary consultation.