Purpose: This paper examines the contributions of Sarah Kane and Mark Ravenhill to contemporary theatre, focusing on the recurring themes of despair, desire, and dissent. It highlights how both playwrights challenge societal norms, portray psychological trauma, and critique modern life.

Research methodology: The study employs qualitative literary analysis of selected plays by Kane (Blasted, 4.48 Psychosis) and Ravenhill (Shopping and Fucking, Some Explicit Polaroids). A comparative approach is used to examine thematic, stylistic, and dramaturgical differences, supported by critical theory, psychological perspectives, and postmodern critiques of capitalist society.

Results: Findings show that both playwrights employ fragmented narratives, stark imagery, and unconventional staging to portray alienation and systemic oppression. Kane’s work is highly introspective, exploring trauma and emotional collapse, while Ravenhill critiques consumerism and the commodification of relationships through dark humour and absurdity. Despite thematic overlap, their dramaturgical approaches differ significantly, offering diverse yet complementary critiques of contemporary society.

Conclusions: Kane and Ravenhill’s plays remain central to modern theatre, pushing audiences to confront uncomfortable truths about human existence. Their thematic explorations reveal intersections between personal suffering and systemic forces, making their works enduringly relevant.

Limitations: The analysis focuses on a limited number of plays, excluding broader discussions on gender, identity politics, and reception in non-Western contexts.

Contribution: This study enriches scholarship on In-Yer-Face theatre by providing a comparative lens on two of its most influential figures. It underscores their lasting impact on dramatic form and their continued relevance in addressing mental health, consumerism, and systemic inequality.