الشكل المسرحي لتقويض النظام الابوي في مسرحيات ما بعد الحداثة المختارة لتشرشل وكين

الملخص

This study explores how Caryl Churchill’s Top Girls and Sarah Kane’s Blasted use formal strategies to subvert patriarchal ideologies in postmodern British theatre. It addresses the inadequacy of traditional linear drama in representing fragmented feminist experiences. Using a qualitative methodology, the research compares Churchill's linguistic disruptions and Kane's spatial detonations. Findings reveal that Churchill fragments singular voices via typographical notation, while Kane shatters spatial realism to expose structural violence. Ultimately, subverting patriarchy requires a structural reconfiguration of the text, stage, and audience relationship rather than just changing ideological content. By linking these methods to socio-political contexts like Thatcherism and the Bosnian war, the study concludes that broken dramatic forms are essential to accurately depict broken lives, offering a framework for future intersectional research.