This thesis examines the abuse and suffering that women endure in two of Sarah Kane's plays. Sarah Kane horrifies her audiences with overly sexualized, verbalized violence, and violated bodies in some of her most well-known pieces , such as Blasted and Crave. She also horrifies her audiences with images of cannibalism, war, torture, rape, and other atrocities, as well as images of obsessive love, sexual craving, betrayal, and humiliation. The results show that Kane's Blasted has both internal and external references to violence. However, the notion of violence is fed back externally in the case of Kane' Blasted. Kane created the violence production with the intention of piercing the two plays' plots' nature and content. Blasted is an effective indicator of victimhood, psychological and physical abuse. Sarah Kane uses traumatic realism as the manner of representation in her theatrical experiment. Crave, which also displays her experimental theatrical style. In this way, Kane faithfully captures the inner world of the traumatized people. Due to the lack of a clear environment in which the four characters are located, the play encourages the retreat into subjectivity. Findings of current study could be helpful for further readings about the trauma and violence in other works of Sarah Kane and also for comparing her works with other authors who have shown trauma in their works.
