This paper aims to examine Sarah Kane’s Blasted with intense focus on how the play blends the specificity of war with the broader aspects of universal human experience. In the course of discussion, this paper explores the performative quality of in-yer-face theatre, a dominant theatrical movement that gained popularity in England during the mid to late 1990s. The in-yer-face theatre genre―known for its bold and uncomfortable presentation of sex, dismemberment, violence, masturbation, and drug use on stage―pushes the audience to their perceived limits. The extreme portrayal of violence on stage and its seeming lack of probability often lead critics to question the existential significance of violence or even the ethical legitimacy of the genre. This paper argues that Blasted’s political dimension lies in the way the play involves the audience in the process of experiencing violence as a spectacle. As the audience’s gut reaction of horror and disgust in response to violence derives from ethical judgment, their spectatorship is a thoroughly political act. The issues extend beyond the realm of theater. The July 2022 Vogue cover shoot featuring Ukrainian President Volodymyr Zelenskyy and his wife Olena Zelenska sparked a heated debate about whether the couple’s performance simply aestheticizes the war or whether the picture demonstrates the real presence of the violence and its horror. Blasted offers an insightful framework to consider the ethical implications of displaying, performing, and witnessing violence in today's media society, particularly given the ever-expanding emergence of new media platforms.