Last Laugh of the Medusa

The feminist dramaturgical contributions of Marsha Norman and Sarah Kane offer a compelling case study in the evolution of feminist thought in theater. Norman’s "‘night, Mother," emerging during second-wave feminism, foregrounds women’s representation within a traditionally male-dominated landscape, while Kane’s "Blasted" embodies the disruptive ethos of third-wave feminism, rejecting conventional structures and embracing shock as a mode of subversion. Though the theoretical lens of Hélène Cixous’ écriture féminine as articulated in her essay “The Laugh of the Medusa,” this article examines how Norman and Kane engage with critique, and expand feminist ideologies. Norman’s themes and Kane’s structure and form reflect interrelated approaches to questions of gender, power, and violence. This analysis situates their works within a broad feminist discourse that supports Cixous’ notion of writing the female body. The comparison underscores how these playwrights’ distinct historical and theoretical contexts inform their artistic choices, revealing the complexity and diversity of feminist dramaturgy in contemporary theater.