Staging Krapp's Last Tape Staging Beckett

Total Page:16

File Type:pdf, Size:1020Kb

Staging Krapp's Last Tape Staging Beckett Staging Krapp's Last Tape Staging Beckett (2012-15): The Impact of Productions of Beckett’s Plays on Theatre Practice and Cultures in the UK and Ireland The AHRC-funded Staging Beckett project is producing a database of all professional productions of Beckett’s plays in the UK and Ireland. At present, the project excludes radio and television productions, and adaptations, but includes visiting international productions of Beckett’s plays. We have put together a small selection of materials from the Beckett Archive at the University of Reading and other archival collections, including the Jocelyn Herbert archive, Wimbledon College of Art, University of the Arts, London, on productions of Beckett’s Krapp’s Last Tape, to give you a sense of the scope of the project. Please do not touch the exhibits, except for the reference books at the end of the exhibition, and PHOTOGRAPHY OR FILMING ARE NOT ALLOWED. You will have a chance to leave comments, or your own recollections of any production of Krapp’s Last Tape you have seen, at the end of the exhibition. Beckett was using state of the art technology in 1958, when Krapp’s Last Tape opened at the Royal Court Theatre, London – what would he be using if he were around today? 1. Screen shot of the Staging Beckett website, currently in development, which will allow you to access the Beckett database, and other research resources on productions of Beckett’s plays, such as essays, featured productions, and blogs. 2. Some faces of Krapp in recent decades. Max Wall, Riverside Studios, London, dir. Ewan Hooper, 1986. 3. Norman Beaton, Bloomsbury Theatre, London, dir, Keith Warner, 1988. 4. Barry McGovern, Samuel Beckett Theatre, Trinity College Dublin, dir. Sarah Jane Scaife, 1996. 5. David Warrilow, Haymarket Theatre, Leicester, and Riverside Studios, dir Antoni Libera, 1989/1990. 6. Edward Petherbridge, RSC, dir. Edward Petherbridge and David Hunt,1997. 7. Obituary for Gerard Murphy, played Krapp, Glasgow Citizens Theatre, dir. Dominic Hill, 1998. 8. John Hurt, dir Robin Lefevre, Gate Theatre Dublin, 2001, 2006; dir. Michael Colgan, Gate Theatre Dublin and tour, 2013. 9. Harold Pinter, Royal Court Theatre, London, dir. Ian Rickson, 2006. 10. Michael Gambon, dir. Michael Colgan, Gate Theatre Dublin and tour, 2010. 11. Robert Wilson, Krapp’s Last Tape, toured to Happy Days Beckett Festival, Enniskillen, Northern Ireland, 2012. 1 12. Projection on back wall: Harold Pinter in Krapp’s Last Tape at the Royal Court Theatre, London, 2006. Directed by Ian Rickson. Photo c. John Haynes, courtesy of Lebrecht Music and Arts. 13. Display Case A. Notes by Samuel Beckett for a production of Krapp’s Last Tape by the San Quentin Drama Workshop. UoR MS 2101. 14. Été 56 Notebook’ University of Reading (UoR) MS 1227/7/7/1. Includes Beckett’s first manuscript draft of Krapp’s Last Tape. Beckett was inspired by hearing Patrick Magee’s distinctive ‘cracked’ voice on radio, reading extracts from Beckett’s prose work, including From an Abandoned Work, on BBC’s Third programme on 14th December 1957. You can hear this recording playing during the exhibition. Patrick Magee played Krapp in the premiere of Krapp’s Last Tape at the Royal Court Theatre, London, in October 1958, directed by Donald McWhinnie. Courtesy of Jeremy Howe, Commissioning Editor of BBC Radio 4 Drama. 15. Reel to reel tape of the BBC2 broadcast of Patrick Magee in Krapp’s Last Tape, series 30 Minute Theatre, 1972, dir. Donald McWhinnie. 16. Display Case B. Drawing by Jocelyn Herbert of Patrick Magee in Krapp’s Last Tape, for the premiere of the play at the Royal Court in 1958, dir. Donald McWhinnie. Copyright Estate of Jocelyn Herbert, Jocelyn Herbert Archive, Wimbledon College of Art, University of the Arts, London. Jocelyn Herbert was a close friend of Beckett’s and worked as his designer on many of the UK premieres of his plays. Her two designs here show an evolution in her and Beckett’s conception of Krapp, from overtly clownish, to a ‘wearish old man’. 17. Programme for the world premiere of Krapp’s Last Tape at the Royal Court Theatre in 1958, directed by Donald McWhinnie. 18. Drawing by Jocelyn Herbert of Patrick Magee in Krapp’s Last Tape, for the premiere of the play at the Royal Court in 1958. Copyright Estate of Jocelyn Herbert, Jocelyn Herbert Archive, Wimbledon College of Art, University of the Arts, London. 19. Photograph of Patrick Magee as Krapp (c. David Sim). 20. Display Case C. Programme and 3 sketches by Jocelyn Herbert for the 1973 production of Krapp’s Last Tape at the Royal Court Theatre, with Albert Finney as Krapp, directed by Anthony Page. Copyright Estate of Jocelyn Herbert, Jocelyn Herbert Archive, Wimbledon College of Art, University of the Arts, London. 21. Programme for the San Quentin Drama Workshop touring production of Endgame and Krapp’s Last Tape directed by Beckett, with Rick Cluchey as Krapp. Open Space, 1978. 22. iPad: you can flick through the programme which contains additional notes by Beckett for this production of Krapp’s Last Tape with Rick Cluchey. 2 23. Flyer for the Oxford Playhouse tour of this production, 1980. 24. Poster for the Peacock Theatre Dublin (smaller stage of the Irish National Theatre) tour of this production, 1980. 25. Some local Reading productions: with Pinter’s at Reading’s Progress Theatre, and a touring Festival programme by Compass Theatre, that included Krapp’s Last Tape, 1996. 26. Reference books: you are welcome to look through these. 27. Krapp’s corner. There is a book and recording equipment here – you are welcome to leave any comments or recollections of any production of Krapp’s Last Tape you have seen either in written or aural form. Thanks for your visit. Please check out our latest news on the Staging Beckett blog. http://blogs.reading.ac.uk/staging-beckett/ Anna McMullan, Siobhan Wootton, Matthew McFrederick, Patricia McTighe, David Tucker. Special thanks to: Edward Beckett and the Beckett Estate, Cathy Courtney (the Jocelyn Herbert archive, Wimbledon College of Art, University of the Arts, London), Sandra Lousada, Jeremy Howe, David Gothard, Mark Nixon, Lib Taylor, Chris Bacon, Lisa Clark, Chris O’Shea, Dave Marron, UoR Special Collections. 3 .
Recommended publications
  • This Item Is the Archived Peer-Reviewed Author-Version Of
    This item is the archived peer-reviewed author-version of: Periodizing Samuel Beckett's Works A Stylochronometric Approach Reference: Van Hulle Dirk, Kestemont Mike.- Periodizing Samuel Beckett's Works A Stylochronometric Approach Style - ISSN 0039-4238 - 50:2(2016), p. 172-202 Full text (Publisher's DOI): https://doi.org/10.1353/STY.2016.0003 To cite this reference: http://hdl.handle.net/10067/1382770151162165141 Institutional repository IRUA This is the author’s version of an article published by the Pennsylvania State University Press in the journal Style 50.2 (2016), pp. 172-202. Please refer to the published version for correct citation and content. For more information, see http://www.jstor.org/stable/10.5325/style.50.2.0172?seq=1#page_scan_tab_contents. <CT>Periodizing Samuel Beckett’s Works: A Stylochronometric Approach1 <CA>Dirk van Hulle and Mike Kestemont <AFF>UNIVERSITY OF ANTWERP <abs>ABSTRACT: We report the first analysis of Samuel Beckett’s prose writings using stylometry, or the quantitative study of writing style, focusing on grammatical function words, a linguistic category that has seldom been studied before in Beckett studies. To these function words, we apply methods from computational stylometry and model the stylistic evolution in Beckett’s oeuvre. Our analyses reveal a number of discoveries that shed new light on existing periodizations in the secondary literature, which commonly distinguish an “early,” “middle,” and “late” period in Beckett’s oeuvre. We analyze Beckett’s prose writings in both English and French, demonstrating notable symmetries and asymmetries between both languages. The analyses nuance the traditional three-part periodization as they show the possibility of stylistic relapses (disturbing the linearity of most periodizations) as well as different turning points depending on the language of the corpus, suggesting that Beckett’s English oeuvre is not identical to his French oeuvre in terms of patterns of stylistic development.
    [Show full text]
  • Barrington Pheloung's Cv
    BARRINGTON PHELOUNG’S CV 2004/05 FILMS SHOPGIRL Production Company: Hyde Park Entertainment Directed by: Anand Tucker Produced by: Jon Jashni, Ashok Amritraj & Steve Martin Written by: Steve Martin LITTLE FUGITIVE Production Company: Little Fugitive Directed by: Joanna Lipper Produced by: Joanna Lipper, Vince Maggio, Nicholas Paleologos & Fredrick Zollo Written by: Joanna Lipper A PREVIOUS ENGAGEMENT Production Company: Bucaneer Films Directed by: Joan Carr-Wiggin Produced by: Joan Carr-Wiggin , David Gordian & Damita Nikapota Written by: Joan Carr-Wiggin TELEVISION IMAGINE: SMOKING DIARIES Directed by: Margy Kinmonth Production Company: BBC THE WORLD OF NAT KING COLE Produced by: Kari Lia Production Company: Double Jab Productions 2002/03 FILMS TOUCHING WILD HORSES Production Company: Animal Tales Productions Inc. Directed by: Eleanore Lindo Produced by: Lewis B. Chesler, David M. Perlmutter, Frank Huebner, Rob Vaughan Written by: Murray McRae TELEVISION THE STRANGE TALE OF BARRY WHO Directed by: Margy Kinmonth Documentary on Barry Joule Produced by: Margy Kinmonth/Sam Organ Production Company: Darlowsmithson Productions For BBC4. MOVE TO LEARN Directed by: Sheila Liljeqvist Documentary for Video Produced by: Sheila Liljeqvist and Barbara Pheloung Australian documentary, children with learning difficulties. SHORTS ARDEEVAN Short Feature film made in the UK. Directed and Produced by: Jonathan Richardson NIGHT’S NOONTIME Short Feature film made in the Canada. Executive Producers: Richard Clifford & Amar Singh Produced by: Hanna Tower Directed
    [Show full text]
  • Samuel Beckett's Peristaltic Modernism, 1932-1958 Adam
    ‘FIRST DIRTY, THEN MAKE CLEAN’: SAMUEL BECKETT’S PERISTALTIC MODERNISM, 1932-1958 ADAM MICHAEL WINSTANLEY PhD THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE MARCH 2013 1 ABSTRACT Drawing together a number of different recent approaches to Samuel Beckett’s studies, this thesis examines the convulsive narrative trajectories of Beckett’s prose works from Dream of Fair to Middling Women (1931-2) to The Unnamable (1958) in relation to the disorganised muscular contractions of peristalsis. Peristalsis is understood here, however, not merely as a digestive process, as the ‘propulsive movement of the gastrointestinal tract and other tubular organs’, but as the ‘coordinated waves of contraction and relaxation of the circular muscle’ (OED). Accordingly, this thesis reconciles a number of recent approaches to Beckett studies by combining textual, phenomenological and cultural concerns with a detailed account of Beckett’s own familiarity with early twentieth-century medical and psychoanalytical discourses. It examines the extent to which these discourses find a parallel in his work’s corporeal conception of the linguistic and narrative process, where the convolutions, disavowals and disjunctions that function at the level of narrative and syntax are persistently equated with medical ailments, autonomous reflexes and bodily emissions. Tracing this interest to his early work, the first chapter focuses upon the masturbatory trope of ‘dehiscence’ in Dream of Fair to Middling Women, while the second examines cardiovascular complaints in Murphy (1935-6). The third chapter considers the role that linguistic constipation plays in Watt (1941-5), while the fourth chapter focuses upon peristalsis and rumination in Molloy (1947). The penultimate chapter examines the significance of epilepsy, dilation and parturition in the ‘throes’ that dominate Malone Dies (1954-5), whereas the final chapter evaluates the significance of contamination and respiration in The Unnamable (1957-8).
    [Show full text]
  • Compass Theatre and Manor Farm Jan – Apr 11
    Theatre Drama Music Dance Youth Compass Theatre and Manor Farm Jan – Apr 11 A great line up including Henry V Emily Smith Roald Dahl Day Jazz Supper Club Slumdog Millionaire Free to register Box Office 01895 673200 9593 Compass Cinema Matinees £3 Evenings £5 Tue 8 Mar 2pm Tue 11 Jan 2pm Norman Wisdom in Breakfast at Tiffany’s The Early Bird (U) (PG) 1965 British comedy film featuring the Double Oscar-winning 1961 classic ubiquitous Mr Grimsdale. starring Audrey Hepburn. Thu 3 Feb 7.30pm BOLLYWOOD DOUBLE BILL: In the Mood for Love (PG) See both for just £6 Celebrate Chinese New Year: the Guardian’s fifth Most Romantic Film of All Thu 28 Apr 2pm Time, with chow mein and chopsticks in the interval. Sholay (PG) The highest grossing film of all time in Thu 17 Feb 2pm Indian cinema with English subtitles. The Odd Couple (PG) Thu 28 Apr 7.30pm Neil Simon’s 1968 comedy starring Jack Lemmon and Walter Matthau. Slumdog Millionaire (15) Danny Boyle’s 8 Oscar-winning movie Tue 22 Feb 2pm from 2008. James and the Giant Peach (U) Tue 3 May 2pm 1996 musical fantasy film based on the novel by Roald Dahl. See more Roald Dahl Singin’ in the Rain (U) events on page 8. 1952 classic starring Gene Kelly and Debbie Reynolds. Thu 17 Feb 7.30pm, Sat 30 Apr 2pm & 7.30pm I ♥ FILM If it’s out on DVD and you can bring 16 or more people, we will let you choose the film. Send requests to [email protected] (subject to availability).
    [Show full text]
  • Julia Smith Lighting CV.Pages
    CV Lighting Designer Julia Smith 1991: BBC camera trainee - Studios, Film & OBs 1992: BBC camera woman 1996: BBC Lighting & vision operator (racks) 1999: BBC Lighting & vision supervisor (console operator) 2002: Freelance Lighting director & console operator Production History Lighting Designer Rob Beckett’s Playing for Rumpus Media Channel 4 Hospital Studios Time The Darkness of John Phil McIntyre TV Not broadcast as yet BBC Radio Theatre Robbins Tim Vine Travels in Time Baby Cow Productions BBC1 Pinewood Studios Citizen Khan BBC Comedy BBC 1 Dock 10 Yes Primeminister BBC Comedy UKTV TVC Lighting Director - original designs by other Lighting designers Harry Hill’s Alien Fun Capsule CPL Productions ITV 1 TLS Live From the BBC Phil McIntyre TV BBC2 BBC Radio Theatre Cats Do Countdown Zeppatron Productions Channel 4 Dock 10 Eggheads 12 Yard Productions BBC1 BBC2 BBC Scotland Perfection 12 Yard Productions BBC1 BBC Scotland Who Dares Wins 12 Yard Productions BBC1 BBC Scotland Russel Howard’s Good News Avalon BBC2 BBC3 Riverside Studios Sheperton, TLS Unspun with Matt Ford Avalon Dave TLS Question of Sport BBC Entertainment BBC1 Dock 10 Insert Name Here 12 Yard Productions BBC2 Pinewood Studios Football on Five Sunset & Vine Channel 5 Sky Studios Various BT Sport Timeline BT Sport Channel International Broadcasting programmes Centre Dog Ate my homework BBC Children’s Glasgow CBBC Pacific Quay !1 of !3 Production History Vision Supervisor or Console Operator Sitcom Upstart Crow BBC Comedy BBC 2 TLS Not Going Out Avalon BBC 1 TVC, Teddington
    [Show full text]
  • Hw Biography 2021
    HUGH WOOLDRIDGE Director and Lighting Designer; Visiting Professor Hugh Wooldridge has produced, directed and devised theatre and television productions all over the world. He has taught and given master-classes in the UK, Europe, the US, South Africa and Australia. He trained at the London Academy of Music and Dramatic Art (LAMDA) and made his West End debut as an actor in The Dame of Sark with Dame Celia Johnson. Subsequently he performed with the London Festival Ballet / English National Ballet in the world premiere production of Romeo and Juliet choreographed by Rudolph Nureyev. At the age of 22, he directed The World of Giselle for Dame Ninette de Valois and the Royal Ballet. Since this time, he has designed lighting for new choreography with dance companies around the world including The Royal Ballet, Dance Theatre London, Rambert Dance Company, the National Youth Ballet and the English National Ballet Company. He directed the world premieres of the Graham Collier / Malcolm Lowry Jazz Suite Under A Volcano and The Undisput’d Monarch of the English Stage with Gary Bond portraying David Garrick; the Charles Strouse opera, Nightingale with Sarah Brightman at the Buxton Opera Festival; Francis Wyndham’s Abel and Cain (Haymarket, Leicester) with Peter Eyre and Sean Baker. He directed and lit the original award-winning Jeeves Takes Charge at the Lyric Hammersmith; the first productions of the Andrew Lloyd Webber and T. S. Eliot Cats (Sydmonton Festival), and the Andrew Lloyd Webber / Don Black song-cycle Tell Me 0n a Sunday with Marti Webb at the Royalty (now Peacock) Theatre; also Lloyd Webber’s Variations at the Royal Festival Hall (later combined together to become Song and Dance) and Liz Robertson’s one-woman show Just Liz compiled by Alan Jay Lerner at the Duke of York’s Theatre, London.
    [Show full text]
  • Beckett and Nothing: Trying to Understand Beckett
    Introduction Beckett and nothing: trying to understand Beckett Daniela Caselli Best worse no farther. Nohow less. Nohow worse. Nohow naught. Nohow on. Said nohow on. (Samuel Beckett, Worstward Ho) In unending ending or beginning light. Bedrock underfoot. So no sign of remains a sign that none before. No one ever before so – (Samuel Beckett, The Way)1 What not On 21 April 1958 Samuel Beckett writes to Thomas MacGreevy about having written a short stage dialogue to accompany the London production of Endgame.2 A fragment of a dramatic dia- logue, paradoxically entitled Last Soliloquy, has been identifi ed as being the play in question.3 However, John Pilling, in more recent research on the chronology, is inclined to date Last Soliloquy as post-Worstward Ho and pre-What Is the Word, on the basis of a letter sent by Phyllis Carey to Beckett on 3 February 1986, on the reverse of which we fi nd jottings referring to the title First Last Words with material towards Last Soliloquy.4 If we accept this new dating hypothesis, the manuscripts of this text (UoR MS 2937/1–3) – placed between two late works often associated with nothing – indicate two speakers, P and A (tentatively seen by Ruby Cohn as Protagonist and Antagonist) and two ways in which they can deliver their lines, D for declaim and A (somewhat confusingly) for normal.5 Unlike Cohn, I read A and P as standing for ‘actor’ and ‘prompter’, thus explaining why the text is otherwise puzzlingly entitled a soliloquy and supporting her hypothesis that the lines Daniela Caselli - 9781526146458 Downloaded from manchesterhive.com at 09/25/2021 06:16:53AM via free access 2 Beckett and nothing ‘Fuck the author.
    [Show full text]
  • Travels with Samuel Beckett, 1928-1946
    Beyond the Cartesian Pale: Travels with Samuel Beckett, 1928-1946 Charles Travis [I]t is the act and not the object of perception that matters. Samuel Beckett, “Recent Irish Poetry,” e Bookman (1934).1 Introduction he Irish Nobel laureate Samuel Beckett’s (1902-1989) early writings of the 1930s and 1940s depict the cities of Dublin, London and Saint-Lô Tin post-war France, with affective, comedic and existential flourishes, respectively. These early works, besides reflecting the experience of Beckett’s travels through interwar Europe, illustrate a shift in his literary perspective from a latent Cartesian verisimilitude to a more phenomenological, frag- mented and dissolute impression of place. This evolution in Beckett’s writing style exemplifies a wider transformation in perception and thought rooted in epistemological, cultural and philosophical trends associated with the Conti- nental avant garde emerging in the wake of the fin de siècle. As Henri Lefeb- vre has noted: Around 1910, the main reference systems of social practice in Eu- rope disintegrated and even collapsed. What had seemed estab- lished for good during the belle époque of the bourgeoisie came to an end: in particular, space and time, their representation and real- ity indissociably linked. In scientific knowledge, the old Euclidian and Newtonian space gave way to Einsteinian relativity. But at the same time, as is evident from the painting of the period—Cézanne first of all, then analytical Cubism—perceptible space and per- spective disintegrated. The line of horizon, optical meeting-point of parallel lines, disappeared from paintings.2 At the age of fourteen, Beckett, a son of the Protestant Anglo Irish bourgeoisie, witnessed in the largely Catholic nationalist uprising in Ireland, something Charles Travis is at Trinity College Dublin, Long Room Hub.
    [Show full text]
  • What Is a Lighting Director?
    What is a lighting director by Martin Kempton What is a lighting director? Simply put - a lighting director designs the lighting for multi-camera television productions. He or she instructs the crew of electricians in their work in addition to guiding the team of operators who usually sit with the LD in the lighting control room. All this while working closely with the director and the rest of the production team to deliver the best possible pictures. However, there's rather more to it than that, and on this page on the website I explain where LDs work, what kinds of shows LDs work on and give some of the background to what we do. It's important to point out right away that simple 'illumination' is actually a relatively unimportant part of our work. Current TV cameras are capable of operating in very low light levels so it would be quite possible to see what was going on in most studios simply by switching on the houselights. Fortunately, producers and directors realise that the result would look pretty awful. Another thing is also worth making clear – a lighting director is not an electrician. He or she might have been once, but an LD is not another name for a crew chief or gaffer. Most television LDs do not have electrical qualifications, although some may have. In any case, this is not a requirement of the job. The electrical supervisor (gaffer) is in charge of realising the LD’s design in the studio from the rigging and electrical point of view.
    [Show full text]
  • Samuel Beckett's Plays: a Psychoanalysis
    International Journal of Linguistics and Literature (IJLL) ISSN (P): 2319 - 3956; ISSN (E): 2319 - 3964 Vol. 5, Issue 3, Apr - May 2016; 53 - 56 © IASET SAMUEL BECKETT’S PLAYS: A PSYCHOANALYSIS SAHELEH KHEIRABAD P h D Researcher , Pune University , Maharashtra , India ABSTRACT The most important aim of this research is to show psychoanalytic problem in Beckett’s plays. This will be done by describing Beckett’s characters, as well as Beckett himself, ideas about identity and existence in three of his major plays: Waiting for Godot , Endgame , and Happy Days . Beckett’s father dead when he was in his mid - twenties. So, when he lost his father due to personal loss his mental and his physical health. He had night sweats, fear and anxiety. He couldn’t sleep on his bed alone. Dur ing the therapy sessions, Bion has suggested that he should write in order to release the pain and the inner struggle. Consequently, in a way, writing became a therapeutic tool for Samuel. So, Beckett’s writing helped him to treat himself. That is why there are signs of psychoanalysis on Beckett’s plays and Beckett’s characters. Samuel Beckett’s Waiting for Godot , in this article the aim is analyzing the two characters of Vladimir and Estragon in order to investigate their identity. These two characters put their whole existence into waiting. They are waiting for Godot all times. They believe that Godot will have all the answers of their questions. Beckett shows the unconscious mind of his characters, so we analyzed the play with psychoanalytic lens.
    [Show full text]
  • RUISLIP, NORTHWOOD and EASTCOTE Local History Society Journal 1999
    RUISLIP, NORTHWOOD AND EASTCOTE Local History Society Journal 1999 CONTENTS Re! Author Page Committee Members 2 Lecture Programme 1999-2000 2 Editorial -''" 9911 Catlins Lane, Eastcote Karen Spink 4 9912 The Missing Link: A Writer at South Hill Farm Karen Spink 7 99/3 HaIlowell Rd: A Street Research Project Denise Shackell 12 99/4 Plockettes to Eastcote Place Eileen M BowIt 16 99/5 Eastcote Cottage: The Structure Pat A Clarke 21 99/6 A Middlesex Village: Northwood in 1841 Colleen A Cox 25 9917 Eastcote in the Thirties Ron Edwards 29 99/8 The D Ring Road Problem RonEdwards 32 99/9 Long Distance Rail Services in 1947 Simon Morgan 35 99/10 Ruislip Bowls Club: The Move to Manor Farm, 1940 Ron Lightning 37 99111 RNELHS: Thirty-five Years RonEdwards 38 Cover picture: South Hill Farm, Eastcote by Denise Shackell Designed and edited by Simon Morgan. LMA Research: Pam Morgan Copyright © 1999 individual authors and RNELHS. Membership of the Ruislip, Northwood and Eastcote Local History Society is open to all who are interested in local history. For further information please enquire at a meeting of the Society or contact the Secretary. Meetings are held on the third Monday of each month from September to April and are open to visitors. (Advance booking is required for the Christmas social.) The programme jar 1999-2000 is on page 2. An active Research Group supports those who are enquinng into or wishing to increase our understanding of the history of the ancient parish of Ruislip (the present Ruislip, Northwood and Eastcote).
    [Show full text]
  • Existentialism and Samuel Beckett's Two Plays
    EXISTENTIALISM AND SAMUEL BECKETT’S TWO PLAYS: ENDGAME AND HAPPY DAYS A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY TİJEN TAN IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ENGLISH LITERATURE NOVEMBER 2007 Approval of the Graduate School of Social Sciences Prof. Dr. Sencer Ayata Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Arts. Prof. Dr. Wolf König Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Arts. Prof. Dr. Ahmet İnam Prof. Dr. Nursel İçöz Co-Supervisor Supervisor Examining Committee Members (first name belongs to the chairperson of the jury and the second name belongs to supervisor) Assist. Prof. Dr. Nurten Birlik (METU, FLE) Assist. Prof. Dr. Nil Korkut (Ba şkent University, Amer) Dr. Deniz Arslan (METU, FLE) I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Tijen Tan Signature : iii ABSTRACT EXISTENTIALISM AND SAMUEL BECKETT’S TWO PLAYS: ENDGAME AND HAPPY DAYS Tan, Tijen MA., Department of English Literature Supervisor : Prof. Dr. Nursel İçöz Co-Supervisor: Prof. Dr. Ahmet İnam November 2007, 112 pages This thesis carries out an analysis of the plays by Samuel Beckett, Endgame and Happy Days.
    [Show full text]