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Modern British drama features a disturbing trend: the recurring symbol of child sacrifice. This paper brings to light the fact that this brutal act reflects a profound sense of despair in contemporary society. Unlike classical tragedies where gods or heroes fall from grace, these plays depict the loss of innocence in children, the very symbol of hope for the future. The paper explores how child sacrifice reflects a societal decline by drawing on the works of John Ditsky and Peter Hays. In a world without hope, children become not a source of optimism but a burden. Playwrights like Philip Ridley use this shocking imagery to create a sense of catharsis in the audience and to force them to confront the darkness of the world they live in. This paper concludes by highlighting the similarity between the \"luck\" factor in Greek tragedies and the social decay depicted in modern drama. Both show the vulnerability of human values and the potential for their destruction. The playwrights' use of child sacrifice serves as a powerful call to action and urges audiences to reject despair and fight for a future where children can flourish.

This paper tackles the issue of using Contemporary British Theatre to express themes of Trauma and Depression dramatized in the final work of Sarah Kane's 4.48 Psychosis. Trauma theories are tackled to understand the meaning of trauma and how to consider certain states as traumatic and/or depressive conditions. It is both a psychological and social study demonstrated by the young Kane whose final play is considered a reflection to her final days ending in dramatic suicide. The paper also examines trauma in British theatre and Sarah Kane's personal traumatic state, trauma theories and traumatic analysis of 4.48 Psychosis. The focal worry of this paper is to bring up issues about trauma experience and its portrayal just as the capacity of theater even with extreme occasions. Significantly, this research highlights the fact that contemporary drama addresses complex issues of real life situations and that through drama, people of all ages could gain a sense of responsibility greater than oneself.