Sarah Kane, English, committed suicide at the age of twenty-nine, leaving behind a radical, extreme, exceptionally violent work, whose echoes continue to reverberate in the theatre around the world. Krzysztof Warlikowski, Poland's unruly son and a student of the master Krystian Lupa, has already attracted attention. His production is filled with moral problems and takes on aspects of a stations of the cross, with punishment, redemption and purification thrown in. Sarah Kane's heroes are individuals taken over by a whole country to question its own evils. Out of love for her brother, who died of an overdose, a woman wants to change sex. Two homosexuals are sacrificed for this cause by a Faust-like doctor, who punishes with one hand and brings back to life with the other. Warlikowski's direction goes beyond the blood, the sperm and the sex which make Sarah Kane's words into explosive objects. The theatre doesn't avoid it, it moderates, poetises, makes the performance possible, in the end. Rarely to this extent have we heard the desperate quest for love of a woman near her last breath, still distilling the tenderness at the heart of the unbearable, and revealing herself, like the actors, who do not cheat, reveal themselves on the stage.