DOCSLIB.ORG

Le Jeu De Paume Fête Ses 20 Ans De Cinéma !

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Le Jeu De Paume Fête Ses 20 Ans De Cinéma ! i cinéma Le Jeu de Paume fête ses 20 ans de cinéma ! mars – juin 2011 i auditorium 20 ans de cinéma au Jeu de Paume : La réflexion critique s’est aussi invitée au un inventaire contemporain Jeu de Paume avec le lancement de la revue En 1991, l’ouverture du Jeu de Paume, Trafic par Serge Daney, suivi des projections de alors Galerie nationale consacrée à films rares ou films cultes (Adolfo Arrieta, James l’art contemporain, engendre l’invention Agee, Monte Hellman, João César Monteiro, impromptue d’une salle de projection et d’une Sergueï Paradjanov…), commentées par Paul programmation de cinéma dont le ton et la Otchakovsky-Laurens, son éditeur, et Raymond direction vont être vite donnés malgré – ou Bellour, Jean-Claude Biette, Sylvie Pierre et grâce à – un mélange des genres, des points Patrice Rollet, ses rédacteurs. Ces rendez-vous se de vue et des disciplines. renouvellent par la suite avec la revue Cinéma, Une conversation avec l’artiste canadien Léo Scheer, son éditeur, et ses rédacteurs, et plus Stan Douglas, premier vidéaste exposé tard avec la revue Vertigo et Cyril Neyrat autour au Jeu de Paume, suggère l’idée de la d’Albert Serra, Todd Haynes, Bob Dylan. programmation d’ouverture : les pièces de Dès 2002, les « Inventaires contemporains » Samuel Beckett réalisées pour la télévision cherchent à mettre en évidence les liens entre les allemande et inédites en France. arts plastiques et le cinéma décliné sous toutes C’est ensuite avec Arthur Pelechian et Jonas ses formes par de jeunes artistes, vidéastes, Mekas que naît l’habitude d’inviter les cinéastes cinéastes… C’est ainsi qu’on découvre les films à venir présenter leurs films ou d’ouvrir leur et les vidéos de Pierre Alféri, Alice Anderson, rétrospective – souvent la première en France ou Erik Bullot, Hélène Delprat, Arnaud des à Paris –, comme celles d’Atom Egoyan, Patrick Pallières, Vincent Dieutre, Camille Henrot, Isilde Bokanowski, Edgardo Cozarinsky, Lionel Rogosin, Le Besco, Henri Foucault, Mounir Fatmi, Keja Jean-Claude Biette, André S. Labarthe, Yervant Kramer, Lech Majewski, Ariane Michel, Valérie Gianikian et Angela Ricci Lucchi, Harun Farocki, Mrejen, Leighton Pierce, Rafi Pitts, Anri Sala, Jean Rouch – qui pendant près de deux mois Karim Zeriahen… Liens avec les arts plastiques vient commenter ses films tous les soirs –, Pierre également établis avec les films de leurs illustres Perrault, Otar Iosseliani, Yoko Ono, Anne-Marie aînés, Marcel Broodthaers, Martial Raysse, Erró, Miéville, Alain Fleischer, le chorégraphe Angelin Robert Frank ou William Kentridge, projetés en Preljocaj, Philippe Collin, Johan Van der Keuken – complément de leurs expositions. sujet central du Mois de la Photo de 1998 –, Par ailleurs, les correspondances entre Jean-André Fieschi, Pierre Léon et Vladimir la programmation du cinéma et les installations Léon, Daniel Schmid, Naomi Kawase – après sa de cinéastes a commencé dès l’ouverture du Caméra d’or au Festival de Cannes –, Nurith Aviv, Jeu de Paume avec L’Expulsion des Maures, Marc Recha, Robert Cahen, Vittorio de Seta…. l’installation de Raoul Ruiz, qui occupait tous les Avec des cinéastes encore peu montrés ou des espaces du sous-sol, puis avec D’Est de Chantal rétrospectives jusqu’alors jamais envisagées, se Akerman, présentée au premier étage pendant crée la particularité d’une programmation de la rétrospective de ses films. familles de cinéastes dont les œuvres relèvent Après 20 ans, se dessinent les lignes de de formats différents comme le documentaire, force et les points de convergence de ce qui la fiction et surtout le genre, peu repéré, des n’apparaissait au départ comme intuitions, goûts « essais cinématographiques », dont ceux de et opportunités : mettre en valeur des familles de Jean-Luc Godard, qui firent l’objet, en 1997, cinéastes, méconnus en France et parfois même d’une séance mémorable par sa présence dans leur pays d’origine, à travers leurs présences imprévue, un soir de neige. et leurs œuvres, croiser ces rétrospectives avec La collaboration avec le Festival d’automne, d’autres disciplines artistiques, donner la parole à à partir de 1995, donne l’occasion de faire des critiques, des écrivains, des historiens de l’art, découvrir à Paris les œuvres complètes d’artistes des philosophes – ainsi Jean Narboni, Jacques comme Rebecca Horn et de cinéastes comme Aumont, Jean Louis Schefer, Hubert Damisch, Carmelo Bene – qui, parallèlement, met en Georges Didi-Huberman, Peter Szendy… et scène Macbeth au théâtre de l’Odéon –, Shinji bien d’autres sont devenus des familiers du Aoyama, James Benning ou Alexandre Sokourov. Jeu de Paume. Tout ce qui semblait innovations, propositions programme originales, choix singuliers est aujourd’hui tendance générale dans les lieux de diffusion quasiment instantanée de « l’image en Chantal Akerman mouvement » (salles de cinéma, festivals, musées, z Toute une nuit galeries, Internet et même téléphone portable). France-Belgique, 1982, 35 mm, couleur, 90’ Il n’en reste pas moins que le Jeu de Paume, avec Aurore Clement, Tchéky Karyo, Christiane Cohendy, celui des débuts comme celui dévolu depuis Jan Decorte, Hélène Lapiower, Véronique Silver, 2004 à la photographie et à l’image, est Samy Szlingerbaum, Natalia Akerman, souvent évoqué, en France et à l’étranger, Benedicte Paquay, Gabriele Claes comme un lieu de découvertes et de révélations Dans la touffeur d’une nuit d’été, à travers les cinématographiques. rues de Bruxelles, dans les cafés, les chambres, Comment rendre compte de plus de les cages d’escalier, des couples se croisent, 140 programmes sinon à travers une quinzaine se séparent, se retrouvent, s’étreignent, se de rendez-vous, certains évoquant des fuient en un ballet indécis, à la fois exaspéré découvertes étonnantes pour tous, comme le et fragile. Jusqu’au petit matin, la ville livre travail insoupçonné de Samuel Beckett pour la ces fragments de scènes amoureuses : télévision, d’autres rappelant les rétrospectives rencontres, retrouvailles et ruptures. « La nuit dont le travail de préparation a donné naissance est plus longue que le désir, la caméra est à une fidélité admirative et amicale, comme ceux plus patiente que la nuit, la ville se réveille : avec Chantal Akerman, Edgardo Cozarinsky, Bruxelles va brusseler. » (Serge Daney, les Gianikian, Jonas Mekas, Wang Bing ou Ciné-journal, éd. Cahiers du cinéma) Manoel de Oliveira (qui, à 102 ans, tenait à venir fêter les 20 ans du cinéma du Jeu de Paume) et, enfin, un dernier rendez-vous pour honorer Jean-Claude Biette, Jean-André Fieschi, Jean Rouch, Johan Van der Keuken, autant de cinéastes qui, au Jeu de Paume, ont accompagné leur première rétrospective de leur présence quotidienne. En hommage à leur goût commun d’une vie créative, offerte à travers leurs œuvres, nous avons choisi de présenter Trois Ponts sur la rivière de Jean-Claude Biette. Danièle Hibon Toute une nuit de Chantal Akerman, 1982 © Cahiers du cinéma w Samuel Beckett z Film 1966, 35 mm, noir et blanc, silencieux (un son), 30’ scénario et direction : Samuel Beckett mise en scène : Alain Schneider avec Buster Keaton Esse est percipi, « être c’est être perçu », disait le philosophe Berkeley. Film est l’histoire de « la recherche du non-être par suppression de toute perception de soi », écrit Beckett. Le personnage O (Buster Keaton) « s’efforce de ne pas être vu » et se précipite aveuglément dans une course « allant du maximum d’exposition à l’intérieur, d’enfermement, d’isolement dans sa chambre, cet endroit qui est un piège préparé. » Film, « le plus grand film irlandais », selon Gille Deleuze. z Pièces pour la télévision direction : Samuel Beckett directeur de la photo : Jim Lewis production : SDR Production « Beckett saisit immédiatement ce qui dans la télévision rencontre son écriture : la continuité fluide, le ressassement hémorragique. C’est le propre de l’enregistrement de la télévision que de proposer cet état de “voyeurisme” interminable, sans coupure, sans changement de plans, sans variation du point de vue afin de “ne pas explorer mais simplement regarder”. De ce fait, Beckett comprend bien la caractéristique de la caméra de télévision qui peut, plus encore que celle du cinéma, être mobile, “subreptice ou fulgurante”. “Elle avance ou recule pour se trouver aux endroits déterminés afin d’obtenir les points fixes les plus significatifs”, dit-il encore Film de Samuel Beckett, 1966 à propos de Ghost Trio… Film avec le concours muet, bien entendu, de Buster Keaton ou Quad sont exemplaires de ces métaphores rendues l’inventaire. Puis elle introduit le protagoniste : concrètes à l’image en échappant aux pesanteurs un vieil homme penché sur un objet… De l’objet de la langue, qu’il a tant traquées par ailleurs. (un magnétophone) s’échappe un passage du La télévision, cet “œil sauvage” selon Beckett, trio Fantôme de Beethoven. Le visage ravagé du aurait-elle été pour lui l’occasion de règlements de vieil homme se relève puis disparaît en fondu. compte inattendus avec le théâtre ? » (Jim Lewis) But the Clouds Ghost Trio 1977, vidéo, noir et blanc, 15’46’’, vo allemande 1977, vidéo, noir et blanc, 31’30’’, vo allemande Comme dans Ghost Trio, la voix introduit les Une voix féminine accueille le téléspectateur, éléments de l’image, puis se tait pour laisser ce n’est plus la voix intérieure de Eh Joe, c’est l’image parler seule. Ici la voix s’exprime à la la voix objective du maître de cérémonie première personne du singulier : c’est celle qui décrit l’intérieur de la chambre, en fait d’un vieil homme qui rentre chez lui, enlève son w manteau, met sa robe de chambre et s’installe personnages : au théâtre on voit apparaître pour tenter d’évoquer le visage de la femme quatre personnages, Bam, Bem, Bim et Bom, aimée. C’est alors que le visage aimé apparaît en robe grise et cheveux gris.
Load more

Recommended publications
  • Samuel Beckett and Intermedial Performance: Passing Between
    Samuel Beckett and intermedial performance: passing between Article Accepted Version McMullan, A. (2020) Samuel Beckett and intermedial performance: passing between. Samuel Beckett Today / Aujourd'hui, 32 (1). pp. 71-85. ISSN 0927-3131 doi: https://doi.org/10.1163/18757405-03201006 Available at http://centaur.reading.ac.uk/85561/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1163/18757405-03201006 Publisher: Brill All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Samuel Beckett and Intermedial Performance: Passing Between Anna McMullan Professor in Theatre, University of Reading [email protected] This article analyses two intermedial adaptations of works by Beckett for performance in relation to Ágnes Petho’s definition of intermediality as a border zone or passageway between media, grounded in the “inter-sensuality of perception”. After a discussion of how Beckett’s own practice might be seen as intermedial, the essay analyses the 1996 American Repertory Company programme Beckett Trio, a staging of three of Beckett’s television plays which incorporated live camera projected onto a large screen in a television studio. The second case study analyses Company SJ’s 2014 stage adaptation of a selection of Beckett’s prose texts, Fizzles, in a historic site-specific location in inner city Dublin, which incorporated projected sequences previously filmed in a different location.
    [Show full text]
  • 'One Other Living Soul': Encountering Strangers in Samuel Beckett's Dramatic Works
    Andrew Goodspeed (Macedonia) ‘one other living soul’: Encountering Strangers in Samuel Beckett’s Dramatic Works This essay seeks to explore an admittedly minor area of the study of Samuel Beck- ett’s drama – the encounter with strangers, and one’s relations with strangers. It is the rarity of such situations that makes it perhaps worth investigating, because these encoun- ters shed light on Beckett’s more general dramatic concerns. As is well acknowledged, Beckett’s theatrical work tends to focus on small groups in close and clear relations with one another, or indeed with individuals enduring memories or voices that will not let them rest (here one might nominate, as examples, Eh Joe or Embers). Setting aside those indi- viduals, the tight concentration of Beckett’s writing upon a few individuals in a specific relation to one another – as in perhaps Come and Go or Play—is one of the playwright’s most common dramatic elements, and likely represents an aspect of his famous efforts towards concentration and compression of dramatic experience. By studying the opposite of these instances, particularly when his characters encounter or remember encountering strangers, this paper hopes to gain some insight upon the more general trends of Beckett’s stagecraft and dramatic themes. It should be acknowledged at the outset, however, that there are a number of am- biguous situations in Beckett’s drama relating to the question of how closely individuals know or relate to one another. A simple survey of people who are obviously strangers or are clearly known to one another is not easily accomplished in Beckett’s drama.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Collected Shorter Plays of Samuel Beckett Murphy
    Collected Shorter Plays Works by Samuel Beckett published by Grove Press Cas cando Mercier and Camier Collected Poems in Molloy English and French More Pricks Than Kicks The Collected Shorter Plays of Samuel Beckett Murphy Company Nohow On (Company, Seen Disjecta Said, Worstward Ho) Endgame Ill Ohio Impromptu Ends and Odds Ill Proust First Love and Other Stories Rockaby Happy Days Stories and Texts How It Is for Nothing I Can't Go On, I'll Go On Three Novels Krapp Last Tape Waiting for Godot The Lost Ones Watt s Malone Dies Worstward Ho Happy Days: Samuel Beckett's Production Notebooks, edited by James Knowlson Samuel Beckett: The Complete Short Prose, 1929-/989, edited and with an introduction and notes by S. E. Gontarski The Theatrical Notebooks of Samuel Beckett: Endgame, edited by S. E. Gontarski The Theatrical Notebooks of Samuel Beckett: Krapp's Last Tape, edited by James Knowlson The Theatrical Notebooks of Samuel Beckett: Waiting for Godot, edited by Dougald McMillan and James Knowlson COLLECTED SHORTER PLAYS SAMUEL BECKETT Grove Press New York Copyright© 1984 by Samuel Beckett All rights reserved. No part of this book may be reproduced,stored in a retrieval system, or transmitted in any form, by any means, including mechanical, electronic, photocopying,recording, or otherwise,without prior written permission of the publisher. Grove Press 841 Broadway New York, NY 10003 All That Fall © Samuel Beckett, 1957; Act Without Words I © Samuel Beckett, 1959; Act Without Words II© Samuel Beckett,1959; Krapp's Last 'Ihpe© Samuel Beckett,1958; Rough for Theatre I © Samuel Beckett, 1976; Rough for Theatre II© Samuel Beckett,1976; Embers © Samuel Beckett,1959; Rough for Radio I© Samuel Beckett,1976; Rough forRadio II© Samuel Beckett, 1976; Words and Music © Samuel Beckett,1962; Cascando© Samuel Beckett, 1963; Play © Samuel Beckett, 1963; Film © Samuel Beckett, 1967; The Old Tune, adapt.
    [Show full text]
  • The War of the Ember Free Download
    THE WAR OF THE EMBER FREE DOWNLOAD Kathryn Lasky | 232 pages | 24 Nov 2008 | Scholastic US | 9780439888097 | English | New York, United States With Love and Embers The War of the Ember it be admitted that Pan Pan is not afraid of an on-the-nose The War of the Ember. From leaping about to lashing out at any poor beastie that happens to wander into your path, Kratos is one agile chap. Make sure to only hold the black part of the print head on its side and steer clear of the scraper blade so your tool of choice doesn't impale you. But when you are firing on all cylinders to make a series of test on a mini production line of 5 Embers you will most likely feel you're on Top Chef or Benihana. It sounds easy enough and, in essence, it is. All you have to do is knock up more of what we all loved first time round. Take your time here, you don't want The War of the Ember mess up the print after all that The War of the Ember rushing though it. Time Out says 4 out of 5 stars. There's a Secret Organ in Your Head. But these are unusual times, so please check that events are still happening. Try another? You might find yourself jealous, though. Most Popular Military News. The War of the Ember The War of the Ember a few hours of magical terminator like technology and precision, there it is, sitting right in front of you.
    [Show full text]
  • (1977), ... but the Clouds ... (1977), Quad (1980/81), Nacht Und Träume (1983), and What Where (1985) Is Characterized by the Technique of Reduction
    QUADRAT 1 + 2 AS A TELEVISION PLAY The se ries of Beckett's television-plays (Eh Joe (1966), Not I (produced by BBC2 and SDR, Süddeutscher Rundfunk, in 1977), Ghost Trio (1977), ... but the clouds ... (1977), Quad (1980/81), Nacht und Träume (1983), and What Where (1985) is characterized by the technique of reduction. In What Where (the 'stage play') the characters move a Httle bit when entering or leaving the stage, in Was Wo as a TV play, however, there is no longer any movement. The characters do not enter the stage, they are merely illuminated, more accurately, only their faces are illuminated. What Where was first performed at Graz in 1983 and broadcast as a TV play, entitled Was Wo, by SDR in 1985 under the direction of Samuel Beckett and Walter Asmus. In Not I nothing but a mouth, which speaks, can be seen. The earlier work Play, which already is characterized by reduction, has been further reduced to one person, one face, one mouth. The character named "Mouth" becomes in the TV play literally a "mouth," that is, an illuminated section of a face in the dark. This transformance of a character on the stage into a pure image reflects the difference between stage play and 'motion picture,' or rather stage play and television screen. What Where is similar to Not I in the sense that it is a motionless 'moving picture' showing nothing but illuminated faces wh ich speak. In Quad, however, moving dominates and language is reduced to nothing: the characters move, but do not speak.
    [Show full text]
  • Beckett and Nothing
    7 Into the void: Beckett’s television plays and the idea of broadcasting Jonathan Bignell In the context of a tradition of critical discussion that characterises Beckett’s plays for television (and his other work) as attempts to engage with nothingness, absence and death, this chapter argues that the television plays are critical explorations of the problem- atics of presence and absence inherent in the conceptions and histories of broadcasting.1 Television as a medium and a physi- cal apparatus sets up spatial and temporal relationships between programmes and their viewers, relationships with which Beckett’s television plays are in dialogue. Broadcasting necessarily entails an incomplete encounter between viewer and programme, and a certain risk that the audience will not engage with what is offered to it. Here too, Beckett’s television plays stage and explore the potentials of broadcasting and its attendant possibilities of failure. By taking account of the medium’s historical and cultural roles, Beckett’s television plays can be shown to engage with debates about the operation, social function and aesthetic possibilities of broadcasting. Television and temporality There is a long-standing assumption that the television medium’s ‘essence’ is determined by its possibility to relay events and per- formances live, or to recreate an experience for the viewer that simulates a live broadcast. This essentialism is perpetuated by television’s customary broadcast of news, sports events or national occasions at or close to the time of their occurrence, and the con- comitant aim for the medium to connect with the lived temporal- ity of its audience.
    [Show full text]
  • Into the Void: Beckett's Television Plays and the Idea of Broadcasting
    Into the void: Beckett's television plays and the idea of broadcasting Book or Report Section Accepted Version Bignell, J. (2010) Into the void: Beckett's television plays and the idea of broadcasting. In: Caselli, D. (ed.) Beckett and nothing: trying to understand Beckett. Manchester University Press, Manchester, UK, pp. 125-142. ISBN 9780719080197 Available at http://centaur.reading.ac.uk/17676/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Publisher: Manchester University Press All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Into the Void: Beckett’s Television Plays and the Idea of Broadcasting Jonathan Bignell In the context of a tradition of critical discussion that characterizes Beckett’s plays for television (and his other work) as attempts to engage with nothingness, absence and death, this article argues that the television plays are critical explorations of the problematics of presence and absence inherent in the conceptions and histories of broadcasting.1 Television as a medium and a physical apparatus sets up spatial and temporal relationships between programmes and their viewers, relationships with which Beckett’s television plays are in dialogue. Broadcasting necessarily entails an incomplete encounter between viewer and programme, and a certain risk that the audience will not engage with what is offered to it.
    [Show full text]
  • Eh Joe a Piece for Television by Samuel Beckett
    www.UniversityCenterfortheArts.com Eh Joe A piece for television by Samuel Beckett The Colorado Premier Screening of Samuel Beckett’s First Television Play Directed by Price Johnston and Eric Prince Featuring Wendy Ishii as “Voice” and Eric Prince as Joe Created by The Center for Studies in Beckett and Performance and the CSU Theatre Program in Collaboration with Bas Bleu Theatre. Thursday, September 26* and Friday, September 27* 7 p.m. UCA 242, Large Acting Lab & Sunday, September 29 7:30 p.m. Bas Bleu Theatre, 401 Pine Street, Fort Collins FREE *A repeat screening may be offered at 8 p.m. University Center for the Arts, 1400 Remington Street The Center for Studies in Beckett and Performance and the CSU Theatre Program in Collaboration with Bas Bleu Theatre presents: Eh Joe A Piece for Television by Samuel Beckett The Colorado Premier Screening of a New CSU Production of Beckett’s First Television Play Joe – Eric Prince Voice – Wendy Ishii Directed by Eric Prince and Price Johnston Camera & Film Design – Price Johnston Samuel Beckett, an Irishman born in Dublin in 1906 who later made Paris his adopted home came unexpectedly to be regarded as the most influential and unconventional playwright of the twentieth century, following the success of his Waiting For Godot. In 1969 he was awarded the Nobel Prize in Literature. Eh Joe was written purely for television by Samuel Beckett in 1965 and first broadcast in 1966 by BBC Television in Britain and by SDR in Germany. This unique project is a re-creation of that original broadcast for the audience of the twenty first century.
    [Show full text]
  • MÁSTERES DE LA UAM 2017 - 2018 Facultad De Filosofía Y Letras
    From Samuel Beckett´s Film to Three Late Plays. A Distillation Towards an Essence Inés Toharia Terán Máster en Estudios Literarios y Culturales Británicos y de los Países de Habla Inglesa MÁSTERES DE LA UAM 2017 - 2018 Facultad de Filosofía y Letras TRABAJO FIN DE MÁSTER From Samuel Beckett’s Film to Three Late Plays. A Distillation Towards an Essence. Inés Toharia Terán Septiembre 2018 Directora: Prof. Antonia Rodríguez Gago Máster Universitario en Estudios Literarios y Culturales Británicos y de los Países de Habla Inglesa: Cultura, Comunicación y Traducción. UNIVERSIDAD AUTÓNOMA DE MADRID “Tragedy is a close-up; comedy, a long shot” – Buster Keaton “I am, I do and I suffer” – James Joyce (Finnegans Wake) “if some thing could be perceived by various senses, it should be offered to all of them [...] since the senses are the most faithful providers of memory” – Jan Amos Komenský ‘Comenius’ Table of Contents: I. Introduction…………………………………..……………………………..p.3 II. Beckett’s Film………………………………………..…………………..…p.8 III. Three late plays: After Film………………………………….…………..…p.25 IV. “Not quite there”: Towards an influential iconic imagery……..…………...p.37 V. Conclusion…………………………………………………….………….…p.44 VI. Bibliography………………………………….…………………………..…p.47 TFM - Inés Toharia Terán 2 I. Introduction • Background This paper focuses on Film (1964), Samuel Beckett’s (b.1906-d.1989) only screenplay and cinema experience, to highlight its influence in conceiving and achieving a very striking visual staging in his late plays: Not I (1972), Footfalls (1975) and Rockaby (1980). Film and its pervading effect, therefore, guides this study to see how its imprint might be traced in these three plays. • Status of Research Due to the restoration process of Beckett’s Film, which concluded in 2011, the outtakes of its lost and incomplete opening scene were found.
    [Show full text]
  • Beckett's Cruel Lover
    English Language and Literature Studies; Vol. 7, No. 1; 2017 ISSN 1925-4768 E-ISSN 1925-4776 Published by Canadian Center of Science and Education Beckett’s Cruel Lover Mustafa Ahmad Mohammed1 1 Department of English Language and Literature, Faculty of Arts, Isra University, Amman, Jordan Correspondence: Mustafa Ahmad Mohammed, Isra Universiy, P. O. Box 22-33, Amman, Jordan. E-mail: [email protected] Received: December 28, 2016 Accepted: January 23, 2017 Online Published: January 27, 2017 doi:10.5539/ells.v7n1p31 URL: http://dx.doi.org/10.5539/ells.v7n1p31 Abstract Samuel Beckett wrote Eh Joe for television production in 1965. He wrote this bleak play, for his friend the actor Jack MacGowran. The first production of the play was in Germany at Suddenscher Rundfunk Stuttgart on 13 April 1966, and was directed by Samuel Beckett. In both his novels and plays, Beckett paid special attention to human relationships. In his major plays cruelty is the pivot theme. In Eh Joe, Joe a solitary figure is trying to secure himself in his room in an attempt to run away from Voice who keeps reminding him of his cruelty to the girl who loves him. But the past comes to him in a form of Woman’s Voice to remind him of his selfishness and cruelty. Voice focuses on Joe’s cruelty in his relationships and continues hammering him till the end of the play. In less than fifteen minutes Beckett successfully portrays Joe’s selfishness, indifference and cruelty to women who love him. Keywords: Beckett, Beckettians, cruelty, The Absurd, Voice, love, existence, sex 1.
    [Show full text]