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This essay analyses Sarah Kane's Blasted in the theories of Antonin Artaud, Marquis De Sade, and of Gilles Deleuze. As one of the Thatcher's children, Kane very well recognized what was placed beneath the social order of Britain in her age which was violence. Therefore in Blasted and in all of her career, trying to find new theatrical forms which called later the experimental theatre, she sought to break from the old British theatrical style which was a journalistic realism functioning as a ‘talking head’. Artaud's theory of the theatre of cruelty tells us how Blasted worked as a play that affect audience's emotion directly by the cruelties of the play. According to Artaud, ‘first comes the emotion, the thinking afterword' is the way of the theatre working. Extrapolating on the basis of the theory of Sade, we are able to understand what was a hidden principle of Britain, at least her generation. Kane made an attempt to reveal it and wanted theatre-goers to notice that principle. The theory of Deleuze, expecially on Spinoza's ethics, explains what kind of ethics possible in Blasted. It is ethics of ‘good’ and ‘bad’ rather than ‘good’ and ‘evil’. Characters in the play show how to follow good mode of being and how to deny bad mode of being by their relations to each others. Blasted is certain one of the most shocking plays in the contemporary theatre, but distinctly is the play that opens up a new ethical possibility.