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Say It: the Performative Voice in the Dramatic Works of Samuel Beckett

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Say It: the Performative Voice in the Dramatic Works of Samuel Beckett UNIVERSITAT POMPEU FABRA DEPARTAMENT D’HUMANITATS SAY IT: THE PERFORMATIVE VOICE IN THE DRAMATIC WORKS OF SAMUEL BECKETT BY SARAH WEST DOCTORAL THESIS SUPERVISED BY DR. MICHAEL PFEIFFER BARCELONA, MAY 2008 1 CONTENTS ABBREVIATIONS............................................................................... 7 INTRODUCTION................................................................................. 9 1. A VOICE WITHIN AND BEYOND THE TWENTIETH CENTURY 1.1. FINDING A VOICE................................................................ 19 1.2. DEBT TO PAST AND PRESENT............................................... 21 1.3. A WORKING ‘AESTHETIC’..................................................... 24 2. GENESIS OF THE PERFORMATIVE VOICE 2.1. PROSE INTO DRAMA........................................................... 29 2.2. LOCUS OF THE VOICE......................................................... 30 2.3. WHOSE VOICE ASKING THIS? .............................................. 33 2.4. STAINS AND TRACES........................................................... 36 2.5. SOUND TRAITS................................................................... 40 3. RE-ENACTING VOICES FROM THE PAST 3.1. REWINDING MEMORIES: KRAPP’S LAST T APE 3.1.1. LITTLE HEART OF AN ARTICHOKE......................... ... 43 3.1.2. FROM DIALOGUE TO MONOLOGUE........................ 44 3.1.3. BECKETT, A VOICE AND A TAPE RECORDER............ 47 3.1.4. THE DRAMA OF LISTENING................................... 50 3.1.5. THE VOICE. JESUS!.............................................. 55 3.1.6. THE HOUR OF INTONATIONS................................... 57 3.1.7. ANOTHER STROLL IN THE CRYPT............................ 62 3.1.8. THE PERFORMATIVE VOICE.................................. 67 3.2. TALKING GHOSTS: EMBERS 3.2.1. RESERVATIONS AND RECOGNITION..................... .. 69 3.2.2. ESSE EST AUDIRI.............................................. .. 70 3.2.3. COMING OUT OF THE DARK................................ 72 3.2.4. TRANSCENDENTAL VOICES.................................. 75 3.2.5. DRAMATIC AND NARRATIVE VOICES..................... 77 3.2.6. POST-STORYTELLING IN POST-THEATRE................ 79 3 3.2.7. SOUND TABLEAUX............................................... 83 3.2.8. AMBIVALENT TANDEM.......................................... 84 3.2.9. ORALITY, WRITING AND VOICE.............................. 87 3.2.10. A MIXED PERFORMANCE...................................... 92 3.3. THE V OICE CLOSES IN: E H J OE 3.3.1. WRITING FOR THE BOX ....................................... 94 3.3.2. A FACE, A VOICE AND A CAMERA.......................... 95 3.3.3. BATTLING WITH VOICE......................................... 100 3.3.4. VOICE AND IMAGINATION...................................... 102 3.3.5. EXHAUSTING VOICES........................................... 105 3.3.6. VOICE AS CAMERA............................................... 109 3.3.7. VERBAL USURPATION........................................... 111 3.3.8. BELLS, PAROXYSMS AND WHISPERS.................... 112 4. VOICE AS PROTAGONIST 4.1. VOICE AND M USIC: CASCANDO 4.1.1. RECORDINGS AND ERASURES................................ 115 4.1.2. VOICE AND MUSIC AS DRAMATIS PERSONAE........... 115 4.1.3. BECKETT, MUSIC AND VOICE................................ 117 4.1.4. FROM ONE WORLD TO ANOTHER............................. 119 4.1.5. DIALOGUES, DUOS AND TRIOS............................... 122 4.1.6. AUDITORY ANTICS OF A SCHIZOID MIND................. 127 4.1.7. CAPTURING VOICE................................................ 131 4.1.8. THE PLAYER AND THE HURDY-GURDY..................... 134 4.1.9. STRANGE NEEDS AND ANARCHIC FORCES............... 137 4.1.10. VERBAL MUSIC.................................................... 138 4.2. VOICE AND IMAGE: NOT I 4.2.1. A TENUOUS AND COMPLEX BEGINNING.................. 140 4.2.2. IMAGES BEHIND THE STAGE IMAGE....................... 142 4.2.3. LESS THE EYE THAN THE EAR................................ 146 4.2.4. BUZZES, BEAMS, FLASHES AND STREAMS.............. 147 4.2.5. GAPS AND HOLES................................................ 149 4.2.6. THE TELLER AND THE TOLD.................................. 151 4.2.7. SILENT DIALOGUES............................................. 154 4 4.2.8. STAGING A MOUTH AND A VOICE.......................... 157 4.2.9. FIXING THE IMAGE.............................................. 160 4.2.10. VOICE’S FINAL FURY........................................... 163 4.3. VOICE AND M OVEMENT: G HOST T RIO 4.3.1. FROM CONCEPTION TO PRODUCTION..................... 165 4.3.2. ALL THE GHOSTS................................................ 166 4.3.3. ENTER VOICE AND HER OFF-STAGE GHOSTS........ 168 4.3.4. LANGUAGE CONTROLLING MOVEMENT.................. 172 4.3.5. REVEALING CLOSE-UPS....................................... 173 4.3.6. WAYS OF SEEING................................................ 175 4.3.7. A VOICE WITH NO STORY..................................... 177 4.3.8. TONES OF THE BUREAUCRATIC VOICE................... 179 4.3.9. MOVEMENTS OF ANOTHER WORLD........................ 182 4.3.10. METAMORPHOSIS OF VOICE.................................. 185 5. VOICE FROM PAGE TO STAGE 5.1. SCRIPT OR TEXT?: A PIECE OF M ONOLOGUE 5.1.1. WRITING AND PERFORMANCE............................... 187 5.1.2. DRAMA OR RECITATION?...................................... 187 5.1.3. SEEING VERSUS HEARING.................................... 188 5.1.4. SURPASSING THEATRE’S BOUNDARIES................ .. 191 5.1.5. VOICE, BODY AND STAGE SPACE.......................... 194 5.1.6. THE MOVEMENT OF LANGUAGE............................ 196 5.1.7. THE FICKLE POET............................................... 198 5.1.8. REPETITIONS AND ECHOES................................... 200 5.1.9. THE VOICE BEHIND THE MONOLOGUE.................. 204 5.2. VOICE AND PERFORMATIVE TEXT: OHIO IMPROMPTU 5.2.1. A PLAY TO FIT THE BILL...................................... 205 5.2.2. WORDS AND WORLDS IN THE TITLE.................... 206 5.2.3. READING AS A PERFORMATIVE ACT...................... 209 5.2.4. TEXT AND STAGE IMAGE..................................... 215 5.2.5. VISUAL AND VOCAL DOUBLES............................. 221 5.2.6. VOICE AND THE COMMUNICATIVE ACT................ 222 5.2.7. INTERPRETATION AND PERFORMANCE.................. 225 5 5.2.8. WORDS AND KNOCKS.......................................... 230 5.3. TRANSFORMATION OF V OICE: COMPANY 5.3.1. TRANSFORMATION, TRANSLATION AND TRANSPOSITION 231 5.3.2. VOICES IN THE TEXT............................................ 232 5.3.3. VOICES BEYOND THE TEXT.................................. 237 5.3.4. JUMPING GENRES................................................ 240 5.3.5. THE STAGING OF FIGMENTS................................ 243 5.3.6 THE STAGING OF VOICES..................................... 249 5.3.7. WRITTEN AND SPOKEN VOICES............................ 254 5.3.8. IMPOTENCE AND TYRANNY.................................... 256 5.3.9. PRECARIOUS HYBRID STRUCTURES..................... 258 CONCLUSION...................................................................................... 261 BIBLIOGRAPHY................................................................................... 267 CHRONOLOGY.................................................................................... 285 6 ABBREVIATIONS The following abbreviations will be used to refer to works by Samuel Beckett. Dates of writing, translation, first publication and performance are included in a chronology on p.285. C Company (London: Picador, Pan Books Ltd., 1982). CC Comment c’est (Paris: Les Éditions de Minuit, 1961). CO Compagnie (Paris: Les Éditions de Minuit, 1985). CP Collected Poems 1930-1978 (London: John Calder, 1986). CSP Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984). D Disjecta: Miscellaneous Writings and a Dramatic Fragment, ed. Ruby Cohn (London: John Calder, 1983). DR Dream of Fair to Middling Women (London and Paris: Calder Publications, 1993). E Endgame (London: Faber and Faber, 1985). EAG En attendant Godot (Paris: Les Éditions de Minuit, 1952). EL Eleutheria, (London: Faber and Faber, 1996). HD Happy Days, (London: Faber and Faber, 1981). HIS How It Is (London: John Calder Publisher, 1996). ISIS Ill Seen Ill Said (London: John Calder, 1981). L “Lessness”, in Samuel Beckett: The Complete Short Prose 1929-1989. LI L’Innommable (Les Éditions de Minuit, 1953). M “Molloy”, in The Beckett Trilogy. MAC Mercier and Camier (London: John Calder, 1974). MD “Malone Dies”, in The Beckett Trilogy. MUR Murphy (London: Picador, Pan Books Ltd, 1983). NTPR “Nouvelles” et “Textes pour rien” (Paris: Les Éditions de Minuit, 1958). PTD “Proust” and “Three Dialogues with Georges Duthuit” (London: John Calder, 1999). T The Beckett Trilogy: “Molloy”, “Malone Dies”, “The Unnamable”(London: Picador, Pan Books Ltd.,1979). TCSP The Complete Short Prose 1929-1989, ed. S. E. Gontarski (New York: Grove Press, 1995) TFN “Texts for Nothing”, in The Complete Short Prose 1929-1989 (New York: Grove Press, 1995). U “The Unnamable”, in The Beckett Trilogy. W Watt (London: John Calder, 1998). WFG Waiting for Godot (London: Faber and Faber, 1985). WH Worstward Ho (London: John Calder, 1999). 7 8 INTRODUCTION The acts of speaking and listening are paramount in Beckett’s dramatic works: seeing is not enough. As the stage play Catastrophe1 both literally and visually illustrates, images must be said, and they must be heard to have been said. DIRECTOR: How’s the skull? ASSISTANT: You’ve seen
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