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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. -
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 -
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. -
©2016 Emily Kevlin Zubernis ALL RIGHTS RESERVED
©2016 Emily Kevlin Zubernis ALL RIGHTS RESERVED MINIMALISM, MODERNISM, AND THE AESTHETICS OF SCALE by EMILY KEVLIN ZUBERNIS A Dissertation submitted to the Graduate School – New Brunswick Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Literatures in English written under the direction of Rebecca L. Walkowitz and approved by _________________________ _________________________ _________________________ _________________________ New Brunswick, New Jersey October, 2016 ABSTRACT OF THE DISSERTATION MINIMALISM, MODERNISM, AND THE AESTHETICS OF SCALE By EMILY KEVLIN ZUBERNIS Dissertation Director: Rebecca L. Walkowitz This dissertation argues that literary minimalism is rightfully understood as an effort to make literature unproductive. Minimal fiction retreats from the production of meaning as literature’s epiphenomenon. It thus carries out a revaluation of textual surfaces and a critique of the logic of accumulation that inevitably subsumes sensuous particularity. Literary minimalism has previously been considered a movement among late- twentieth-century American short fiction writers who embraced a kind of brevity and tonal flatness that is invariably achieved through a deliberate process of exclusion in their fiction. Against this narrow view of minimalism, the project traces an original literary history of formal subtraction in the transnational narrative experiments of the last century. Through readings of Henry James, James Joyce, Virginia Woolf, Samuel Beckett, and Lydia Davis, I show how minimal writing renounces some of fiction’s most powerful tools. These writers often choose not to generate meaning by communicating and organizing information; they seek to build contingency, rather than significance, into their representations of the world. -
The Performance of Beckett: an Essay for the Staging Beckett Website, 2015
1 ROSEMARY POUNTNEY The Performance of Beckett: An essay for the Staging Beckett website, 2015 The performance of Beckett’s shorter plays for the theatre makes exceptional demands on the actor, audience, technicians and director alike. This lecture will discuss the stringency of Beckett’s requirements in these areas and consider to what extent the exacting nature of such demands may present problems for the continuing life of the plays, both today and in the future. To begin with the actor: Jack MacGowran described the camera narrowing steadily in on his face in Beckett’s television play Eh Joe, exposing his haunted eyes, as ‘the most gruelling 22 minutes I have ever had in my life’, and Brenda Bruce described ‘Beckett placing a metronome on the floor to keep me on the rhythm he wanted, which drove me into such a panic that I finally broke down’.1 Billie Whitelaw similarly remarked that, when rehearsing Not I Beckett told her that she had ‘paused for two dots instead of three’.2 Whitelaw also describes in her autobiography losing self-confidence unexpectedly when rehearsing Happy Days with Beckett and asking advice from Dame Peggy Ashcroft, who said: ‘He’s impossible. Throw him out’.3 Dame Peggy herself appeared uncomfortable in her early performances as Winnie (at the Old Vic London in 1975) though she had grown into the role by the time Happy Days transferred to the Lyttelton in 1976, as the National Theatre’s opening production.4 Albert Finney too appeared uneasy in Krapp’s Last Tape in 1973, lacking his usual mastery of a role.5 Contemplating such uncharacteristic discomfort from both actors one wondered whether, in trying to achieve what Beckett wanted, they had found themselves acting against their own theatrical instincts and had thus not fully integrated into their roles. -
A Beckett Canon Front.Qxd 4/25/2001 10:18 AM Page Ii
front.qxd 4/25/2001 10:18 AM Page i A Beckett Canon front.qxd 4/25/2001 10:18 AM Page ii Enoch Brater, Series Editor Recent Titles: Trevor Griffiths: Politics, Drama, History by Stanton B. Garner Jr. Memory-Theater and Postmodern Drama by Jeanette R. Malkin Performing America: Cultural Nationalism in American Theater edited by Jeffrey D. Mason and J. Ellen Gainor Space in Performance: Making Meaning in the Theatre by Gay McAuley Mirrors of Our Playing: Paradigms and Presences in Modern Drama by Thomas R. Whitaker Brian Friel in Conversation edited by Paul Delaney Sails of the Herring Fleet: Essays on Beckett by Herbert Blau On Drama: Boundaries of Genre, Borders of Self by Michael Goldman Contours of the Theatrical Avant-Garde: Performance and Textuality edited by James M. Harding The Painted Word: Samuel Beckett's Dialogue with Art by Lois Oppenheim Performing Democracy: International Perspectives on Urban Community-Based Performance edited by Susan C. Haedicke and Tobin Nellhaus front.qxd 4/25/2001 10:18 AM Page iii A Beckett Canon Ruby Cohn Ann Arbor front.qxd 4/25/2001 10:18 AM Page iv Copyright © by the University of Michigan 2001 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2004 2003 2002 2001 4321 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. -
BECKETT Waiting for Godot
BECKETT Waiting for Godot * DAVID BRADBY Royal Holloway, University of London PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011–4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarco´n 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2001 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2001 Printed in the United Kingdom at the University Press, Cambridge Typeface 10.75/14 pt. Adobe Garamond System LATEX2ε [TB] A catalogue record for this book is available from the British Library. Library of Congress Cataloguing in Publication data Bradby, David. Beckett, Waiting for Godot / David Bradby. p. cm. – (Plays in production) Includes bibliographical references and index. ISBN 0 521 59429 4 – ISBN 0 521 59510 X (pbk.) 1. Beckett, Samuel, 1906–. En attendant Godot. 2. Beckett, Samuel, 1906– – Dramatic production. 3. Beckett, Samuel, 1906– – Stage history. I. Title: Beckett. II. Title. III. Series. PQ2603.E378 E62 2001 842’.914–dc21 2001035591 ISBN 0 521 59429 4 hardback ISBN 0 521 59510 X paperback CONTENTS List of illustrations page viii General preface xi Acknowledgements xii Introduction 1 1 Beckett before Waiting for Godot 11 2 Waiting for Godot – the play 24 3 The first production: The´atreˆ de Babylone, Paris, January 1953, directed by Roger Blin 45 4 The first productions in English 67 5 Early productions in the United States 86 6 Beckett’s own production: Schiller-Theater, Berlin, March 1975 106 7 ‘Fail again. -
Samuel Beckett Et Le Spectacle Vivant De L'angoisse
STUDIA UBB DRAMATICA, LXVI, 1, 2021, p. 135 – 150 (Recommended Citation) DOI:10.24193/subbdrama.2021.1.08 Film comme non-film – Samuel Beckett et le spectacle vivant de l’angoisse NOEMINA CÂMPEAN∗ Abstract: Film as Not-Film – Samuel Beckett and the Vivid Show of Anxiety. This paper aims to offer a psychoanalytic reading of the living suffering of Samuel Beckett concerning the trauma of birth doubled by the sin of being born with particular reference to his theatrical work Film from 1965. In Film the real nothing is converted into the image of multiple eyes (“I”s) which, beyond the idea of tragedy, translates the multiple division of the subject into Eye and Object, an acting out of the self-consciousness through the concentric circles of the anxiety. In this sense, the theatrical play between in-between and out-between grasps anxiety as the symptom of every event of the real. With his (not)film, Beckett represents I and Eye, Not I and Not Eye at the same time. Keywords: nothingness, I, eye, language, anxiety, real. Une lettre envoyée Écrivant de la littérature à l’intersection entre le théâtre et le cinéma, entre les genres et les modes de ceux-ci, Samuel Beckett (1906-1989) reste préoccupé pendant toute sa vie par l’être imparfait et par le processus de la création, d’où la problématique de l’individu pas tout à fait né. Une existence en proximité, une présence à moitié ou un être tronqué sont des états prédominants ∗ Membre du Forum du Champ Lacanien Roumanie. Email : [email protected] NOEMINA CÂMPEAN dans les écrits beckettiens qui témoignent de l’obligation esthétique de l’auteur de donner de la forme à l’informe (ou à l’incréé d’Ion Barbu, si l’on force la comparaison) et de guérir des effets catastrophiques du fait d’être né : chaque jour envie d’être un jour en vie non certes sans regret un jour d’être né1 Bien sûr, l’entrée proprement dite de Sam en psychanalyse2 suite à des sensations physiques qui traduisent une douleur psychique aiguë, l’analyse bénéfique avec Wilfred R. -
A Piece of Monologue, 16, 36, 144, 172, 175-192, 196, 203, 209
Index A Piece of Monologue, 16, 36, Beethoven, Ludwig van, 109, 144, 172, 175-192, 196, 153, 166 203, 209, 212, 216, 227, Begam, Richard, 84 230, 242, 246, 247 Benjamin, Walter, 74-75 Abbott, H. Porter, 122, 193- Benveniste, Emile, 32 194, 242 Ben-Zvi, Linda, 31, 33, 88, Acheson, James, 20 145, 161 Act Without Words, 42, 225 Berceuse, 234 Akalaitis, JoAnne, 240 Berkeley, Bishop George, 65 Albright, Daniel, 70-71, 74, Bernold, André, 109 83, 92, 134 Billington, Michael, 148 Aldington, Richard, 20 Bion, Wilfred Ruprecht, 29 All Strange Away, 103 Bishop, Thomas, 124 All That Fall, 30-31, 39, 44- Blake, William, 150 47, 56-57, 59, 66, 68, 73, Blin, Roger, 107, 120 77, 81, 109 Bragg, Melvyn, 154 Antonello da Messina, 133, Brater, Enoch, 11-13, 19, 22, 150 66, 83, 99, 117, 136, 139, Anzieu, Didier, 29 140-141, 155, 165, 183, Aplaugh, David, 73 188, 196, 205, 207-208, 224 Arikha, Avigador, 133, 135 Brecht, Bertolt, 132 Artaud, Antonin, 53-55, 58 Breton, André, 22 As the Story was Told, 123 Briezna, Susan, 221, 224 “Assumption”, 11, 18, 37-38, Browning, Robert, 21 Astier, Pierre, 195 Brustein, Robert, 240 Atik, Anne, 135 Buñuel, Luis, 22 Austin, J. L., 12 ...but the clouds..., 99, 154, Bacon, Francis, 148 171, 181, 188 Bair, Deirdre, 225 Callet, Jeanette Leigh, 11-12 Bakewell, Michael, 108 Caravaggio, Michaelangelo Baldwin, Hélène L, 143 Merisi da, 132-133 Banville, John, 22 Casanova, Pascale, 18, 23 Barthes, Roland, 56 Cascando, 13, 16, 27, 33, 79, Beach, Syliva, 17 107-129, 131, 151-152, 155, Beckett, John, 46, 108 164, 166, 168, 171-173, 274 -
II. Genesis of the Performative Voice
II. Genesis of the Performative Voice Prose into Drama Just as Beckett worked out his ideas on artistic practice before materi- alising them in his post-war novels and stories, so his prose fiction similarly adumbrated his dramatic works. For example, stage images are described in prose long before they take a visual form. An instance of this is “the image of a vast cretinous mouth, red, blubber and slob- bering, in solitary confinement” (U, 359) in The Unnamable, which bears striking resemblance to the mouth that Beckett was later to stage in Not I. Alternatively, entire plays could be based on earlier, often unfinished, works of fiction. Plays which have resulted from what S. E. Gontarski has referred to as “generic androgyny”1 are Waiting for Godot,2 which drew heavily on the earlier novel Mercier and Camier,3 and Krapp‟s Last Tape, which was developed from the prose text From an Abandoned Work.4 Beckett also tended to experiment with stylistic changes in his prose fiction before he introduced them into a dramatic form. For example, Voice‟s internal monologue in the radio play Cascando is reminiscent of that used in The Unnamable. Like- wise, the visual and poetic images of the minimalist theatre and televi- sion plays from the mid 1970‟s can also be traced back to prose works written in the 1960‟s. For instance, the black, white and grey world of surface described in Lessness5 bears similarities to the later television play Ghost Trio, and the description of a reader and listener within a 1 S. -
Beckett and Europe: Poesis, Legibility, History
BECKETT AND EUROPE: POESIS, LEGIBILITY, HISTORY by Jonathan S. Feinberg B.A. in English, University of Illinois, 2001 Submitted to the Graduate Faculty of Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of PhD in Critical and Cultural Studies University of Pittsburgh 2012 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Jonathan S. Feinberg It was defended on April 9, 2012 and approved by Marcia Landy, Distinguished Professor, Dept. of English William Scott, Associate Professor, Dept. of English Giuseppina Mecchia, Associate Professor, Dept. of French and Italian Dissertation Advisor: Colin MacCabe, Distinguished University Professor, Dept. of English ii Copyright © by Jonathan S. Feinberg 2012 iii BECKETT AND EUROPE: POESIS, LEGIBILITY, HISTORY Jonathan S. Feinberg, PhD University of Pittsburgh, 2012 Samuel Beckett’s works are characterized by a pervasive sense of lateness—of having arrived after the peak of European civilization, with no choice but to work with outdated materials—that informs the works’ challenging formal qualities and defines their historical consciousness with regard to the crisis of Europe in the twentieth century. The mutual and reciprocal articulation of this sense of lateness and the works’ radical formal, aesthetic, and even technological experimentation yields an instance of what Edward W. Said has called “late style:” works characterized by an historical untimeliness that is expressed formally. Close readings of the prose fiction reveal a generative, essayistic literary practice that relentlessly assays habitual or conventional literary forms and consistently refuses closure or culmination as only another example of these conventions.