All That Fall Education Pack
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Wordback to CONTENTS P AGE 1 WHA T IS the WORD P an P AN
WHAT IS THE WORD WHAT PAN PAN PAN BACK TO CONTENTS PAGE 1 WHaT WOrD IS THE WHAT IS THE WORD WHAT PAN PAN PAN BACK TO CONTENTS PAGE 2 COnTEnTS WHAT IS THE WORD WHAT CONTENTS Contents Essay 4 Poems 8 Creatives 13 Creative Biographies 15 Speaker Biographies 20 CONTENTS BACK TO Pan Pan 32 PAGE 3 PAGE WHAT IS THE WORD WHAT Once more, with colour by Nicholas Johnson Speaking from experience, not everyone is overjoyed by an invitation to a poetry performance. It is not a clearly defined event with formal conditions: it could lead to a wide range of possible outcomes and feelings in the listener. The bardic tradition that sweeps across human cultures and histories — from the Homeric ESSAY epics to the Sufis, from the biwa hoshi of Japan to the filí of Ireland — shows both the depth and breadth of the human impulse to hear verse aloud. But in our cosmopolitan present, poetry being “voiced” could run the gamut from adolescent (painful sincerity at an open mic) to adult (earnest readings at university book launches) to transhuman (Black Thought’s ten-minute freestyle). Though poetry always transports us somewhere, the destination could be anywhere in Dante’s universe: infernal, purgatorial, or paradisiacal. This particular poetry performance is, perhaps fittingly for the year 2020, set in that everyday limbo that is the cinema. It is consciously conceived for the large-scale screen — a crucial gesture, when so much life is being lived on small screens — and as a physical, collective experience, with an audience in plush CONTENTS BACK TO seats, bathed in light, feeling the powerful surround-sound system within their bodies. -
Rhythms in Rockaby: Ways of Approaching the Unknowable
83 Rhythms in Rockaby: Ways of Approaching the Unknowable. Leonard H. Knight Describing Samuel Beckett's later, and progressively shorter, pieces in a word is peculiarly difficult. The length of the average critical commentary on them testifies to this, and is due largely to an unravelling of compression in the interests of meaning: straightening out a tightly C9iled spring in order to see how it is made. The analogy, while no more exact than any analogy, is useful at least in suggesting two things: the difficulty of the endeavour; and the feeling, while engaged in it, that it may be largely counterproductive. A straightened out spring, after all, is no longer a spring. Aware of the pitfalls I should nevertheless like, in this paper, to look at part of the mechanism while trying to keep its overall shape relatively intact. The ideas in a Beckett play emerge, in general, from an initial image. A woman half-buried in a grass mound. A faintly spotlit, endlessly talking mouth. Feet tracing a fixed, unvarying path. Concrete and intensely theatrical, the image is immediately graspable. Its force and effectiveness come, above all, from its simpl icity. Described in this way Beckett's images sound arresting to the point of sen sationalism. What effectively lowers the temperature while keeping the excitement generated by their o.riginality is the simple fact that they cannot easily be made out. They are seen, certainly - but only just. In the dimmest possible light; the absolute minimum commensurate with sight. What is initially seen is only then augmented or reinforced by what is said. -
That Fall by Samuel Beckett
Wednesday, November 9, 2016 at 7:00 pm Thursday–Friday, November 10–11, 2016 at 7:00 and 9:00 pm Saturday, November 12, 2016 at 3:00, 7:00, and 9:00 pm All That Fall By Samuel Beckett Pan Pan Theatre Gavin Quinn , Director Aedín Cosgrove , Set and Lighting Designer Jimmy Eadie , Sound Designer VOICES Áine Ní Mhuirí , Mrs. Rooney Phelim Drew , Christy Daniel Reardon , Mr. Tyler David Pearse , Mr. Slocum Robbie O’Connor , Tommy John Kavanagh , Mr. Barrell Judith Roddy , Miss Fitt Nell Klemen čič, Dolly Andrew Bennett , Mr. Rooney Joey O’Sullivan , Jerry This performance is approximately 70 minutes long and will be performed without intermission. These performances are made possible in part by the Josie Robertson Fund for Lincoln Center. The Duke on 42nd Street Please make certain all your electronic devices aNEW42ND STREET ® proje ct are switched off. WhiteLightFestival.org MetLife is the National Sponsor of Lincoln Center. UPCOMING WHITE LIGHT FESTIVAL EVENTS: Artist Catering provided by Zabar’s and Zabars.com Thursday–Saturday, November 10–12 at 8:00 pm at Baryshnikov Arts Center, Jerome Robbins Theater American Airlines is the Official Airline of Lincoln (T)here to (T)here (World premiere) Center Liz Gerring Dance Company Liz Gerring , choreographer Nespresso is the Official Coffee of Lincoln Center In collaboration with Kay Rosen Dancers: Brandon Collwes, Joseph Giordano, Pierre NewYork-Presbyterian is the Official Hospital of Guilbault, Julia Jurgilewicz, Claire Westby Lincoln Center Post-performance discussion with Liz Gerring on November 11 Co-presented by Lincoln Center’s White Light “All That Fall” by Samuel Beckett is presented Festival and Baryshnikov Arts Center through special arrangement with Georges Borchardt, Inc. -
What Are They Doing There? : William Geoffrey Gehman Lehigh University
Lehigh University Lehigh Preserve Theses and Dissertations 1989 What are they doing there? : William Geoffrey Gehman Lehigh University Follow this and additional works at: https://preserve.lehigh.edu/etd Part of the English Language and Literature Commons Recommended Citation Gehman, William Geoffrey, "What are they doing there? :" (1989). Theses and Dissertations. 4957. https://preserve.lehigh.edu/etd/4957 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. • ,, WHAT ARE THEY DOING THERE?: ACTING AND ANALYZING SAMUEL BECKETT'S HAPPY DAYS by William Geoffrey Gehman A Thesis Presented to the Graduate Committee of Lehigh University 1n Candidacy for the Degree of Master of Arts 1n English Lehigh University 1988 .. This thesis 1S accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts. (date) I Professor 1n Charge Department Chairman 11 ACD01fLBDGBNKNTS ., Thanks to Elizabeth (Betsy) Fifer, who first suggested Alan Schneider's productions of Samuel Beckett's plays as a thesis topic; and to June and Paul Schlueter for their support and advice. Special thanks to all those interviewed, especially Martha Fehsenfeld, who more than anyone convinced the author of Winnie's lingering presence. 111 TABLB OF CONTBNTS Abstract ...................•.....••..........•.•••••.••.••• 1 ·, Introduction I Living with Beckett's Standards (A) An Overview of Interpreting Winnie Inside the Text ..... 3 (B) The Pros and Cons of Looking for Clues Outside the Script ................................................ 10 (C) The Play in Context .................................. -
Bibliography
BIBLIOGRApHY PUBLISHED WORKS BY SAMUEL BECKETT Beckett, Samuel. “Dante… Bruno. Vico.. Joyce.” In Poems, Short Fiction, Criticism. Vol. 4 of The Grove Centenary Edition, 495–510. New York: Grove, 2006. ———. Disjecta: Miscellaneous Writings and a Dramatic Fragment. Edited by Ruby Cohn. London: Calder, 1983. ———. Eleutheria. Paris: Les Éditions de Minuit, 1995. ———. Eleutheria. Translated by Barbara Wright. London: Faber, 1996. ———. Fin de Partie. Paris: Les Éditions de Minuit, 1957. ———. “First Love.” In Poems, Short Fiction, Criticism. Vol. 4 of The Grove Centenary Edition, 229–246. ———. Ill Seen Ill Said. In Poems, Short Fiction, Criticism. Vol. 4 of The Grove Centenary Edition, 451–470. ———. “La Fin.” In Nouvelles et Textes pour rien, 77–123. ———. L’Innommable. Paris: Les Éditions de Minuit, 2004. ———. Malone Dies. In Novels II. Vol. 2 of The Grove Centenary Edition, 171–281. ———. Malone Meurt. Paris: Les Éditions de Minuit, 2004. ———. Mal vu mal dit. Paris: Les Éditions de Minuit, 1981. ———. Mercier and Camier. In Novels I. Vol. 1 of The Grove Centenary Edition, 381–479. ———. Mercier et Camier. Paris: Les Éditions de Minuit, 1970. ———. Molloy. In Novels II. Vol. 2 of The Grove Centenary Edition, 1–170. ———. Molloy. Paris: Les Éditions de Minuit, 1982. ———. Murphy. In Novels I. Vol. 1 of The Grove Centenary Edition, 1–168. ———. Murphy. Paris: Les Éditions de Minuit, 1965. © The Author(s) 2018 213 T. Lawrence, Samuel Beckett’s Critical Aesthetics, https://doi.org/10.1007/978-3-319-75399-7 214 BIBLIOGRAPHY ———. Nouvelles et Textes pour rien, avec 6 illustrations d’Avigdor Arikha. Paris: Les Éditions de Minuit, 1958. ———. Pour finir encore et autres foirades. -
Irish Studies Round the World – 2019
Estudios Irlandeses, Issue 15, March 2020-Feb. 2021, pp. 242-276 __________________________________________________________________________________________ AEDEI IRISH STUDIES ROUND THE WORLD – 2019 Christina Hunt Mahony (ed.) Copyright (c) 2020 by the authors. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Introduction Christina Hunt Mahony ……….………………………………………………………..….. 243 A History of Irish Modernism. Gregory Castle and Patrick Bixby, eds. Feargal Whelan ……..……………..………………….………………………………….…245 Constellations: Reflections from Life. Sinéad Gleeson Melania Terrazas …...………………………………….………………………….………...248 Dublin Palms. Hugo Hamilton Denis Sampson…………..………………………….…..…………………………………...250 Making Integral: Critical Essays on Richard Murphy. Benjamin Keatinge, ed. Elsa Meihuizen……..………………………………..…………………………………........252 The Collected Letters of W. B. Yeats, Volume V: 1908-10. John Kelly and Ronald Schuchard, eds. Nicholas Grene………………………………….…………………………………………...255 Over the Backyard Wall: A Memory Book. Thomas Kilroy George O’Brien ………...…………………………..……………………………………….258 A New History of the Irish in Australia. Elizabeth Malcolm and Dianne Hall Pauric Travers ……………………..……………..…………………………………………264 Notes to Self. Emilie Pine Éilís ni Dhuibne………….………………………..………………………………………...266 ISSN 1699-311X 243 Oscar Wilde and Contemporary Irish Drama: Learning to be Oscar’s Contemporary. Graham Price Pierpaolo Martino………...………………………..………………………………………..269 -
Eh Joe E Ohio Impromptu: Self-Representation and Self-Responsibility in Samuel Beckett’S Drama
EH JOE E OHIO IMPROMPTU: SELF-REPRESENTATION AND SELF-RESPONSIBILITY IN SAMUEL BECKETT’S DRAMA. Maria Margarida C. P. Costa Pinto - Faculty of Social and Human Sciences, UFP Assistent ABSTR A CT In this paper one will be arguing that Beckett, both in the content and form of his writing, points humankind towards help. From the point of view of content, it will analyse Eh Joe (published in 1967) and Ohio Impromptu (published in 1982). Simultaneously, and to look at the form, the power of Beckett’s writing, one will focus on the immanence of the present mo- ment, the moment into which time has collapsed, the moment in which one can accept both the futility of going on and the necessity of going on, the acceptance of the responsibility. Resumo O presente artigo irá abordar simultaneamente o conteúdo e a forma da escrita becketti- ana, assim avançando indicações para o auxílio da Humanidade. Sob o ponto de vista do conteúdo, serão analisadas as peças Eh Joe (publicada em 1967) e Ohio Impromptu (publi- cada em 1982). Simultaneamente, e atendendo à forma, a força da escrita de Beckett, será focada a imanência do momento presente, o momento no qual o tempo entrou em colapso, o momento em que se aceita quer a futilidade de continuar e a necessidade de continuar, a aceitação da responsabilidade. I Part of the appeal of Beckett’s plays is that he evokes so compellingly the destruction of the connection and continuities between past, present and future in contemporary life. It is a destruction one may understand to be not only a self-defence, avoiding the greater pain that connection can threaten with, the pain of guilt, hurt or longing, but also a re- sponse to living in the pre-apocalyptic age. -
Filmography V6.Indd
a filmography Foreword by The Irish Film Institute For over 60 years, the Irish Film Institute has been dedicated to the promotion of film culture in Ireland and therefore is proud to present this filmography of Samuel Beckett’s work. Beckett remains one of Ireland’s most important and influential artists and Samuel Beckett – A Filmography provides a snapshot of the worldwide reach and enduring nature of his creativity. As part of the Beckett centenary celebrations held in April 2006, the Irish Film Institute organised a diverse programme of films relating to the work of Beckett, including a tour of the line-up to cinemas around the country. Prior to this, the Irish Film Institute provided the unique opportunity to view all 19 films in the ‘Beckett on Film’ series by screening the entire selection in February 2001. This filmography provides the perfect accompaniment to these previous programmes and it illustrates that Beckett’s work will continue to be adapted for film and television worldwide for years to come. Photograph by Richard Avedon Samuel Beckett – A Filmography was made possible though the kind support of the Department of Arts, Sport and Tourism and the Beckett Centenary Council and Festival Committee. Mark Mulqueen Director, The Irish Film Institute An Introduction Compiling a filmography of Beckett’s work is both a challenging and daunting prospect. It was important, from the outset, to set some parameters for this filmography. Therefore, to this end, I decided to focus on the key area of direct adaptations of Beckett’s work filmed for cinema or television. -
Soup of the Day Chowder of the Day Homemade Chili Irish Goat Cheese Salad Spicy Chicken Salad Smoked Pheasant Salad Smoked Salmo
Soup of the Day Irish Goat Cheese Salad Smoked Pheasant Salad Served with brown bread & Irish butter Mixed greens tossed with sundried Smoked pheasant with rocket, Cup 3. Bowl 6. tomatoes, roasted red pepper, cherry shaved Irish cheddar, dried fruit, tomatoes, candied nuts crumbled candied nuts, red onion & shaved Chowder of the Day goat cheese, topped with a warm goat carrot 12. Served with brown bread & Irish butter cheese disc 10. Cup 3. Bowl 6. Smoked Salmon Salad Spicy Chicken Salad Chopped romaine lettuce, tomato, Homemade Chili Chopped romaine, bacon, tomato, Irish cheddar, peppers, red onion , Served with corn bread, scallions, cheese & scallions cup fried chicken tossed in blue cheese topped with slices of Irish oak Cup 3. Bowl 6. and buffalo sauce 12. smoked salmon 14. Frittatas Choice of smoked salmon & Irish cheddar, Irish sausage & bacon, shrimp & spinach or vegetarian. Served with choice of fruit, side salad or Sam’s spuds 12. Irish Breakfast Dalkey Benedict Mitchelstown Eggs Two bangers, two rashers, two black & white Slices of oak smoked salmon on top of two An Irish muffin with sautéed spinach, pudding, potato cake, eggs & baked beans, poached eggs with a potato cake base and poached eggs and hollandaise sauce 12. with Beckett’s brown bread 15. topped with hollandaise sauce 12. Tipperary Tart Baileys French Toast Roscrea Benedict A quiche consisting of leeks and Irish Cashel Brioche with a mango chutney and syrup. An Irish muffin topped with poached eggs blue cheese in a pastry shell. Served with a Served with choice of fruit or Sam’s spuds 12. -
Miranda, 4 | 2011 Eleutheria―Notes on Freedom Between Offstage and Self-Reference 2
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 4 | 2011 Samuel Beckett : Drama as philosophical endgame ? Eleutheria―Notes on Freedom between Offstage and Self-reference Shimon Levy Electronic version URL: http://journals.openedition.org/miranda/2019 DOI: 10.4000/miranda.2019 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Shimon Levy, “Eleutheria―Notes on Freedom between Offstage and Self-reference”, Miranda [Online], 4 | 2011, Online since 24 June 2011, connection on 16 February 2021. URL: http:// journals.openedition.org/miranda/2019 ; DOI: https://doi.org/10.4000/miranda.2019 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Eleutheria―Notes on Freedom between Offstage and Self-reference 1 Eleutheria―Notes on Freedom between Offstage and Self-reference Shimon Levy 1 Samuel Beckett’s works have long and profoundly been massaged by numerous philosophical and semi-philosophical views, methods and “isms”, ranging from Descartes, Geulincx and Malebranche to existentialism à la Sartre and Camus, to logical positivism following Frege, Wittgenstein and others―to name but a few. P. J. Murphy rightly maintains that “the whole question of Beckett’s relationship to the philosophers is pretty obviously in need of a major critical assessment”.1 In many, if not most studies, “a philosophy” has been superimposed on the -
Beckett's Play, "Play" Autho&(S): Samuel Beckett and Be&Na&D F. Duko&E Sou&Ce: Educational Theat&A
!"#$"%%&'()*+,-(.)*+,. /0%1234'56(7+80"*(!"#$"%%(+9:(!"39+3:(;<(=0$23" 7203#"6(>:0#+%?29+*(@1"+%3"(A2039+*-(B2*<(CD-(E2<(C(4F+3<-(CGHI5-(JJ<(CGKLM )0N*?'1":(N,6(@1"(A219'(O2J$?9'(P9?Q"3'?%,()3"'' 7%+N*"(PRS6(http://www.jstor.org/stable/3204922 /##"''":6(CMTCUTLUUV(UC6IC Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=jhup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to Educational Theatre Journal. http://www.jstor.org BECKETT'SPLAY, PLAY BERNARD F. -
Meaninglessness of Life in the Works Named Waiting for Godot and Clinton Godson
Şahin, E. (2018). Meaninglessness of life in the works named Waiting for Godot and Clinton Godson. Uluslararası Türkçe Edebiyat Kültür Eğitim Dergisi, 7(3), 1713-1728. Uluslararası Türkçe Edebiyat Kültür Eğitim Dergisi Sayı: 7/3 2018 s. 1713-1728, TÜRKİYE Araştırma Makalesi MEANINGLESSNESS OF LIFE IN THE WORKS NAMED WAITING FOR GODOT AND CLINTON GODSON Elmas ŞAHİN Geliş Tarihi: Şubat, 2018 Kabul Tarihi: Ağustos, 2018 Abstract This article is a comparative study of Waiting for Godot (1948) by Samuel Beckett and Clinton Godson (1970) by Leyla Erbil. The first one is an absurd play; the second one is a short absurd story that the traditional forms in modern literature were rejected. In this study focused on the concepts absurdity and meaninglessness of life in Beckett‟s and Erbil‟s works, the endless waitings and questionings that have no solutions aside from absurd and meaningless conversations, in other words futile questionings and waitings ironically covered the both works will be discussed and evaluated in the light of the method of comparative literature. Keywords: Meaninglessness, absurd, irony, humor, postmodernism, existentialism, nihilism. GODOT’YU BEKLERKEN VE CLINTON GODSON ADLI ESERLERDE YAŞAMIN ANLAMSIZLIĞI Öz Bu makale Samuel Beckett‟ın Godot’yu Beklerken (1948) ile Leyla Erbil‟in Clinton Godson (1970) adlı eserlerinin karşılaştırmalı bir çalışmasıdır. İlki absürd bir oyun; ikincisi, modern edebiyatta geleneksel formları yıkan kısa absürd bir öyküdür. Beckett ve Erbil‟in eserlerindeki saçmalık ve yaşamın anlamsızlığı kavramları üzerine odaklı olan bu çalışmada, her iki eseri de kapsayan saçma ve anlamsız konuşmalar bir yana, hiçbir çözüme ulaşamayan sonsuz bekleyiş ve sorgulayışlar, bir başka deyişle beyhude sorgulayışlar ve ironik bekleyişler karşılaştırmalı edebiyat yöntemi ışığında tartışılacak ve değerlendirilecektir.