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The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works Theresa A. Incampo Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Dramatic Literature, Criticism and Theory Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Incampo, Theresa A., "The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/209 The Evocation of the Physical, Metaphysical and Sonic Landscapes within the Short Dramatic Works of Samuel Beckett Submitted by Theresa A. Incampo May 4, 2012 Trinity College Department of Theater and Dance Hartford, CT 2 Table of Contents Acknowledgements 5 I: History Time, Space and Sound in Beckett’s short dramatic works 7 A historical analysis of the playwright’s theatrical spaces including the concept of temporality, which is central to the subsequent elements within the physical, metaphysical and sonic landscapes. These landscapes are constructed from physical space, object, light, and sound, so as to create a finite representation of an expansive, infinite world as it is perceived by Beckett’s characters.. II: Theory Phenomenology and the conscious experience of existence 59 The choice to focus on the philosophy of phenomenology centers on the notion that these short dramatic works present the theatrical landscape as the conscious character perceives it to be. The perceptual experience is explained by Maurice Merleau-Ponty as the relationship between the body and the world and the way as to which the self-limited interior space of the mind interacts with the limitless exterior space that surrounds it. -
FRANK Mccusker
FRANK McCUSKER NolanMuldoonAgency HEIGHT 6’ 0” HAIR Brown EYES Blue NATIONALITY Northern Irish TRAINING None FILM & TELEVISION Production Part Director Company The Fall Garret Brink Jakob Verbruggen BBC The First Wave Tom (L) David Frayne Tilted Pictures Titanic: Blood & Steel Charles Stokes Ciaran Donnelly DAP, Italy 1916: Seachtar Anaithnid Major McBride (L) Daithi Keane Abu Media The Tudors Risley Various Showtime Hunger The Governor Steve McQueen Film 4 Bitter Sweet Ivan Declan Eames Element Small Engine Repair John Madden Niall Heery Subotica Bad Girls Miller Julian Holmes ITV Murder Prevention Fergus Fallon Julian Simpson World Films The Blackwater Lightship Harry John Erman Hallmark Proof Noel Ciaran Donnelly RTÉ Pulling Moves Blonde Patrick P Elliot/B Kirk BBC Any Time Now Mr. Bennett D Recks/J Woods RTÉ As the Beast Sleeps Jack Harry Bradbeer BBC Rebel Heart Padraic Pearse John Strickland BBC The Affair of the Necklace Abel Duphot Charles Shyer Alcon Day One Mr. Hanton Ian Fitzgibbon Grand Pictures David Copperfield Uriah Heap Peter Medak Hallmark Agnes Browne Tom O’Toole Angelica Hueston Hell’s Kitchen The Ambassador DS Lynch Matthew Evans BBC Out of Hours Doctor Doug McKinnon BBC Getting Hurt Dr. Mike Gibson Ben Bolt BBC 2 Bloodlines: Legacy of a Lord Greville Howard Brian Grant Vine International Circle of Friends Young Priest Pat O’Connor Good Girls Productions NolanMuldoonAgency / +353 1 288 1537 / www.nolanmuldoonagency.com The Railway Station Man Jack Cuffe Michael Whyte BBC THEATRE Play Part Director Venue/Company Richard -
Begging Questions in Wole Soyinkas Opera Wonyosi"
Begging Questions in Wole Soyinkas u Opera Wonyosi" BERNTH LINDFORS IN AN ARTICLE published in The American Scholar in the sum• mer of 1963, Wole Soyinka, a young Nigerian dramatist whose first published plays had appeared in print just a few weeks earl• ier, castigated an older and better-known African author, Cam- ara Laye of Guinea, for pandering to European critical conde• scension by writing his second novel, The Radiance of the King, in a Western creative idiom. Soyinka deplored the fact that this allegedly indigenous piece of fiction was modelled so closely on Franz Kafka's The Castle, for he believed that : .. most intelligent readers like their Kafka straight, not geo• graphically transposed. Even the character structure of Kafka's Castle has been most blatantly retained — Clarence for Mr. K. ; Kafka's Barnabas the Messenger becomes the Beggar Intermedi• ary; Arthur and Jeremiah, the unpredictable assistants, are turned into Nagoa and Noaga. We are not even spared the role of the landlord — or innkeeper—take your choice! It is truly amazing that foreign critics have contented themselves with merely drop• ping an occasional "Kafkaesque" — a feeble sop to integrity — since they cannot altogether ignore the more obvious imitative- ness of Cámara Laye's technique. (I think we can tell when the line of mere "influence" has been crossed.) Even within the primeval pit of collective allegory-consciousness, it is self-destruc• tive to imagine that the Progresses of these black and white pil• grims have sprung from independent creative stresses.1 There are two points worth noting here. -
Waiting for Godot by Samuel Beckett
PROSCENIUM Waiting For Godot By Samuel Beckett Waiting For Godot For Waiting Wednesday 16th January to Saturday 19th January 2008 Compass Theatre, Ickenham PROSCENIUM Waiting For Godot By Samuel Beckett Waiting For Godot For Waiting Wednesday 16th January to Saturday 19th January 2008 Compass Theatre, Ickenham WAITING FOR GODOT The Author 1906 Born on Good Friday, April 13th, at Foxrock, near Dublin, son of a quantity surveyor. Both parents were Protestants. BY SAMUEL BECKETT 1920-3 Educated at Portora Royal School, Ulster. 1923-7 Trinity College, Dublin. In BA examinations placed first in first class in Modern Literature (French and Italian). Summer 1926: first contact with France, a bicycle tour of the chateaux of the Loire. 1927-8 Taught for two terms at Campbell College, Belfast. CAST: 1928-30 Exchange lecturer in Paris. Meets James Joyce. 1930 First separately published work, a poem Whoroscope. Four terms as assistant lecturer in French, Trinity College, Dublin. Estragon.....................................................................................................Duncan Sykes Helped translate Joyce’s Anna Livia Plurabella into French. 1931 Performance of first dramatic work, Le Kid, a parody sketch Vladimir ................................................................................................ Mark Sutherland after Corneille. Proust, his only major piece of literary criticism, Pozzo .............................................................................................................. Robert Ewen published. -
C4 Music Guide
C4 Music Rights and Clearances Guide Part 1 – What do I need to clear and how much does it cost? Page. 1. Recording, Publishing and Performers Rights explained 3 2. Publishing a) Clearing publishing rights under the IPC scheme 3 b) Paying for publishing rights under the IPC scheme 4 c) Publishing Rights rate card 5 d) What about Broadcast rights? 7 3. Recordings a) Clearing recording rights 7 b) Paying for recording rights 8 4. Performers a) Clearing performers’ rights 8 b) Paying for performers’ rights 8 5. Cue Sheets and Music License forms 9 Part 2 – Clearing outside of C4’s blanket deals 1. Exceptions and Restrictions a) Respect the blankets! 11 b) Exempted artists 11 c) Appropriate Usage 11 d) Titles/Signature Music 12 e) Sponsorship and Advertising 12 f) Dramatico Musical Works 13 2. Help! My track won’t clear! a) I can’t find the track on the PRS/PPL databases 13 b) Copyright control / Non Society shares 13 c) International collecting societies 14 d) Out of copyright / Traditional / Public Domain 14 e) Sample suspense 15 3. How to clear non PRS/PPL repertoire a) Things to consider 16 i) Time Consuming 16 ii) Problematic 16 iii) Confusing 16 iv) Costly 16 b) Alternatives i) Use another track 17 ii) Use a library track 17 c) Negotiating a license i) Clearing PRS/PPL repertoire 17 ii) Clearing Non PRS/PPL repertoire 18 iii) MFN (Most Favoured Nations) 18 iv) Await Claim 18 1 Part 3 – Specialist music uses 1. Other music uses Cont…… a) Live performances by cast members 19 b) Live performances by artists or bands 19 c) Music Videos VPL 19 d) Music based shows 20 e) Dramatico Musical Works 20 f) Promos and Trailers 21 g) Online and ‘New Make’ 21 h) Clearing for DVD and DTO i) Publishing 21 ii) Recordings 22 iii) Reporting 22 2. -
Cole Porter: the Social Significance of Selected Love Lyrics of the 1930S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Unisa Institutional Repository Cole Porter: the social significance of selected love lyrics of the 1930s by MARILYN JUNE HOLLOWAY submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR IA RABINOWITZ November 2010 DECLARATION i SUMMARY This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content. KEY WORDS: Broadway, Cole Porter, early Hollywood musicals, gays and musicals, innuendo, musical comedy, social taboos, song lyrics, Tin Pan Alley, 1930 film censorship ii ACKNOWLEDGEMENTS I should like to thank Professor Ivan Rabinowitz, my supervisor, who has been both my mentor and an unfailing source of encouragement; Dawie Malan who was so patient in sourcing material from libraries around the world with remarkable fortitude and good humour; Dr Robin Lee who suggested the title of my dissertation; Dr Elspa Hovgaard who provided academic and helpful comment; my husband, Henry Holloway, a musicologist of world renown, who had to share me with another man for three years; and the man himself, Cole Porter, whose lyrics have thrilled, and will continue to thrill, music lovers with their sophistication and wit. -
James M. Black and Friends, Contributions of Williamsport PA to American Gospel Music
James M. Black and Friends Contributions of Williamsport PA to American Gospel Music by Milton W. Loyer, 2004 Three distinctives separate Wesleyan Methodism from other religious denominations and movements: (1) emphasis on the heart-warming salvation experience and the call to personal piety, (2) concern for social justice and persons of all stations of life, and (3) using hymns to bring the gospel message to people in a meaningful way. All three of these distinctives came together around 1900 in Williamsport, Pennsylvania, in the person of James M. Black and the congregation at the Pine Street Methodist Episcopal Church. Because there were other local persons and companies associated with bands, instruments and secular music during this time, the period is often referred to as “Williamsport’s Golden Age of Music.” While papers have been written on other aspects of this musical phenomenon, its evangelical religious component has generally been ignored. We seek to correct that oversight. James Milton Black (1856-1938) is widely known as the author of the words and music to the popular gospel song When the Roll is Called Up Yonder . He was, however, a very private person whose failure to leave much documentation about his work has frustrated musicologists for decades. No photograph of him suitable for large-size reproduction in gospel song histories, for example, is known to exist. Every year the United Methodist Archives at Lycoming College expects to get at least one inquiry that begins, “I just discovered that James M. Black was a Methodist layperson from Williamsport, could you please tell me…” We now attempt to bring together all that is known about the elusive James M. -
BAM Announces the Complete Cast of Beckett's Endgame, Featuring John Turturro and Directed by Andrei Belgrader Running April
BAM announces the complete cast of Beckett’s Endgame, featuring John Turturro and directed by Andrei Belgrader running April 25–May 18 Max Casella, Elaine Stritch, and Alvin Epstein to join cast BAM 2008 Spring Season is sponsored by Bloomberg Endgame Written by Samuel Beckett Directed by Andrei Belgrader Produced by BAM BAM Harvey Theater (651 Fulton St.) April 25 & 26 at 7:30 Apr 29—May 3, May 6—10, May 13—17 at 7:30pm (note: Apr 30 is the press opening) May 3, 10 & 17 at 2pm April 27, May 4, 11 & 18 at 3pm Tickets: $25, 45, 65, 75 BAM.org or 718.636.4100 Brooklyn, NY/March 11, 2008—BAM announces the complete cast of its upcoming production of Samuel Beckett’s Endgame. Joining John Turturro (Hamm) will be acclaimed TV, stage, and screen actor Max Casella (“The Sopranos,” The Lion King) as Clov. Veteran classical actor Alvin Epstein (Waiting for Godot, The Three Penny Opera, Tuesdays with Morrie) will play Nagg and the legendary Broadway actress Elaine Stritch will play Nell. The one-act play, originally published in 1957, is considered to be one of Beckett’s most important works. Endgame will be directed by Andrei Belgrader (American Repertory Theatre’s Ubu Rock, Yale Repertory Theatre’s Scapin). Twenty-four performances of Endgame will take place in the BAM Harvey Theater (651 Fulton St.) from April 25 through May 18 (press opening: April 30). Tickets, priced at $25, 45, 65, 75, can be purchased by calling BAM Ticket Services at 718.636.4100 or by visiting BAM.org. -
Waiting for Godot and Rosencrantz and Guildenstern Are Dead Axel KRUSI;
SYDNEY STUDIES Tragicomedy and Tragic Burlesque: Waiting for Godot and Rosencrantz and Guildenstern are Dead AxEL KRUSI; When Rosencrantz and Guildenstern are Dead appeared at the .Old Vic theatre' in 1967, there was some suspicion that lack of literary value was one reason for the play's success. These doubts are repeated in the revised 1969 edition of John Russell Taylor's standard survey of recent British drama. The view in The Angry Theatre is that Stoppard lacks individuality, and that Rosencrantz and Guildenstern are Dead is a pale imitation of the theatre of the absurd, wrillen in "brisk, informal prose", and with a vision of character and life which seems "a very small mouse to emerge from such an imposing mountain".l In contrast, Jumpers was received with considerable critical approval. Jumpers and Osborne's A Sense of Detachment and Storey's Life Class might seem to be evidence that in the past few years the new British drama has reached maturity as a tradition of dramatic forms aitd dramatic conventions which exist as a pattern of meaningful relationships between plays and audiences in particular theatres.2 Jumpers includes a group of philosophical acrobats, and in style and meaning seems to be an improved version of Stoppard's trans· lation of Beckett's theatre of the absurd into the terms of the conversation about the death of tragedy between the Player and Rosencrantz: Player Why, we grow rusty and you catch us at the very point of decadence-by this time tomorrow we might have forgotten every thing we ever knew. -
The Work of Poverty
THE WORK OF POVERTY • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • The Work of Poverty SAMUEL BECKEtt’S VAGABONDS AND THE THEATER OF CRISIS Lance Duerfahrd THE OHIO STATE UNIVERSITY PRESS • COLUMBUS Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Duerfahrd, Lance Alfred, 1967– The work of poverty : Samuel Beckett's vagabonds and the theater of crisis / Lance Duerfahrd. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1237-0 (cloth : alk. paper) ISBN-10: 0-8142-1237-9 (cloth : alk. paper) ISBN-13: 978-0-8142-9339-3 (cd-rom) ISBN-10: 0-8142-9339-5 (cd-rom) 1. Beckett, Samuel, 1906–1989. En attendant Godot. English—Criticism and interpreta- tion. 2. Beckett, Samuel, 1906–1989—Influence. I. Title. PQ2603.E378Z618 2013 842'.914—dc23 2013022653 Cover design by Jennifery Shoffey-Forsythe Text design by Juliet Williams Type set in Palatino Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Contents • • • • • • • • • • • List of Illustrations vi Acknowledgments vii INTRODUCTION Begging Context 1 CHAPTER 1 Godot behind Bars 12 CHAPTER 2 Waiting for Godot in Sarajevo and New Orleans 63 CHAPTER 3 La Pensée Vagabonde: Vagabond Thought 112 CHAPTER 4 Textual Indigence: The Reader in an Aesthetics of Poverty 143 AFTERWORD Staging Godot in -
By Paul Giovanni Directed by Matt Torney
PITTSBURGH IRISH & CLASSICAL THEATRE by Paul Giovanni directed by Matt Torney December 4-21, 2013 The Charity Randall Theatre 40 1 Give the gift of theatre this holiday season! INTRODUCING Beautiful gift packages start at $96 ...something this way comes 2014 Season Blithe Spirit - May 1-17 Noel Coward Waiting for Godot - June 4-21 oAkLand’s Most uNiQue dInIng dEsTinAtIon Samuel Beckett theporChatscHenley.coM Woman and Scarecrow - July 10-August 2 Marina Carr Observe the Sons of Ulster Marching Towards the Somme - September 4-20 Frank McGuinness Macbeth - October 8-25 William Shakespeare Great Expectations - December 3-20 Charles Dickens, adapted by Hugh Leonard AllA p hotoghotohothootogto raphyraphaphaphyphyphhyy bybyLy L auraauaurau a PetriPPePetrPetetrie r llalla.la.lala. www.mwwwwwwww.mwwmw.m misslpisssslpsslsslpphohotohotogootoogograrapraphyraphaphyphyh .com.c.cococomco ThePorchAtSchenley.com 239 PICT Board of Directors Pittsburgh Irish & Classical Theatre Eugene O’Sullivan, President presents Kevin R. Gieder, Vice-President Erin Shannon-Auel, Secretary V. Sue Molina, Treasurer The Crucifer of Blood Alan Baum Joseph Karas by Paul Giovanni Cynthia Berger Justin Krauss Directed by Matt Torney Michael Burns Richard Miller Barbara Carlin Charles Moellenberg David Whalen* Sherlock Holmes Steve Cuden Fabian O’Connor Justin R. G. Holcomb* Dr. John Watson Dina Fulmer Richard E. Rauh Gayle Pazerski Irene St. Claire Gail Gerono Chuck Reynolds Daryll Heysham* Inspector Lestrade, Durga Dass Ken Bolden* Major Alistair Ross Advisory Board Members Jonathan Visser* Captain Neville St. Claire D.L. “Larry” Brophy, E. Bruce Hill, Paul Homick, Malcolm Madera* Jonathan Small Robert Levin, Kristen Olson, PhD., Alberta Sbragia, Michael Fuller* Wali Dad, Hopkins, Mordecai Smith John Sotirakis, Wanda Wilson Luke Halferty Birdy Johnson, Leper Honorary Board Members Scenic Designer Lighting Designer Costume Designer U.S. -
“The Human Condition” in Samuel Beckett's Waiting for Godot Michiko
“The Human Condition” in Samuel Beckett’s Waiting for Godot Michiko Tsushima, University of Tsukuba, Japan The Asian Conference on Arts & Humanities 2020 Official Conference Proceedings Abstract In his essay about two painters, the van Velde brothers, Samuel Beckett presents a view that both men share a profound interest in “the human condition,” which precedes their interest in painting. This view relates to Beckett’s own conception of art. He himself was interested in “the human condition” in his creation of art. Beckett experienced the devastation of the Second World War. Through his work (e.g., Waiting for Godot, Endgame, and Happy Days), he explored the condition of those who survive in the world in its extremity. This paper sheds light on “the human condition” revealed in the act of waiting in Waiting for Godot, a French play written in 1949. The play depicts the human condition as the condition of being “tied to Godot.” This condition implies the human finitude—the tormenting in-between condition—being short of the world and that of never being able to escape from the here and now. At the same time, this condition of being “tied to Godot” indicates one last ounce of belief in the world. By disclosing this invisible “tie,” Waiting for Godot evokes “the link between man and the world” (Deleuze) in the audience’s mind. Keywords: Samuel Beckett, The Human Condition, Waiting iafor The International Academic Forum www.iafor.org Introduction In his essay about two brother-painters, Bram and Geer van Velde, “La peinture des van Velde ou le Monde et le Pantalon” (1945), Samuel Beckett presents a view that both men share a profound interest in “the human condition,” which precedes their interest in painting.