At a time like ours when politics increasingly relies on the effect of passions, the question arises as to whether political theatre, which is primarily conceptual and ‘unemotional’, can still function in its current form. Sarah Kane’s play expresses the unbearable depression from which Kane suffered through its emotional rawness. It is precisely with this emotional expressiveness that Kane formulates her fight against a society that she herself has always perceived as the real ‘sick’. 

If emotions have become a major player in the political landscape, perhaps it is time for political theatre to bring them back on stage to reflect on what kind of society we are building on the basis of their confrontation and acceptance.