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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). -
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. -
What Are They Doing There? : William Geoffrey Gehman Lehigh University
Lehigh University Lehigh Preserve Theses and Dissertations 1989 What are they doing there? : William Geoffrey Gehman Lehigh University Follow this and additional works at: https://preserve.lehigh.edu/etd Part of the English Language and Literature Commons Recommended Citation Gehman, William Geoffrey, "What are they doing there? :" (1989). Theses and Dissertations. 4957. https://preserve.lehigh.edu/etd/4957 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. • ,, WHAT ARE THEY DOING THERE?: ACTING AND ANALYZING SAMUEL BECKETT'S HAPPY DAYS by William Geoffrey Gehman A Thesis Presented to the Graduate Committee of Lehigh University 1n Candidacy for the Degree of Master of Arts 1n English Lehigh University 1988 .. This thesis 1S accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts. (date) I Professor 1n Charge Department Chairman 11 ACD01fLBDGBNKNTS ., Thanks to Elizabeth (Betsy) Fifer, who first suggested Alan Schneider's productions of Samuel Beckett's plays as a thesis topic; and to June and Paul Schlueter for their support and advice. Special thanks to all those interviewed, especially Martha Fehsenfeld, who more than anyone convinced the author of Winnie's lingering presence. 111 TABLB OF CONTBNTS Abstract ...................•.....••..........•.•••••.••.••• 1 ·, Introduction I Living with Beckett's Standards (A) An Overview of Interpreting Winnie Inside the Text ..... 3 (B) The Pros and Cons of Looking for Clues Outside the Script ................................................ 10 (C) The Play in Context .................................. -
Today's Fear of 'Being' in Samuel Beckett's Waiting for Godot
Lapis Lazuli -An International Literary Journal (LLILJ) Vol.3/ NO.2/Autumn 2013 Today‟s fear of „Being‟ in Samuel Beckett‟s Waiting for Godot Komal Rakwal Abstract The New Theatre, The Theatre of the Absurd emerged in Paris in the 1950’s and it took the theatre world by surprise. In the new theatrical context, the term is used to talk about plays that are out of harmony with reason or convention. The Theatre of the Absurd has its affinities with existentialism. It consists of the plays that do not satisfy the expectations of audiences, plays that do not conform to the codes and conventions of theatre that had governed play till then. The present paper made an attempt to discuss how in Waiting for Godot Beckett describes the existential philosophy and its absurdity and how human beings simply exist in a universe that does not have any overarching meaning. Waiting for Godot has an overall feeling of absurdity while simultaneously lead to existentialism. Beckett warns the common reader against wasting one’s life and he make realize them to make meaning out of their life instead of simply living. Keywords: Absurdity, Existentialism, Disillusionment, Inadequacy, Disintegration. Lapis Lazuli -An International Literary Journal (LLILJ) ISSN 2249-4529, Vol.3/ NO.2/Autumn 2013 URL of the Issue: http://pintersociety.com/vol-3-no-2autumn-2013/ © www.pintersociety.com 107 Today‟s fear of „Being‟ in Samuel Beckett‟s Waiting for Godot After Second World War, the theatre was fruitless. New interests were carried towards new subjects. During that period, a new theatre appeared in front of the audience with a greater force, without any showy manifestation, Theatre of the Absurd. -
The Search for Meaning in Waiting for Godot
Praxis: The Journal for Theatre, Performance Studies, and Criticism 2013 Issue Deconstructing Consciousness: The Search for Meaning in Waiting for Godot Dan Ciba Samuel Beckett has long been recognized as a great playwright of the Theater of the Absurd, a theatrical genre identified by dramatic critic Martin Esslin. Early Absurdist playwrights were categorized by Esslin because of their use of narrative and character in order to expose the meaninglessness of a post-Nietzschean world. In his book the Theatre of the Absurd, Esslin states: “'Absurd' originally means 'out of harmony', in a musical context. Hence its dictionary definition: 'out of harmony with reason or propriety; incongruous, unreasonable, illogical'[...] In an essay on Kafka, Ionesco defined his understanding of the term as follows: 'Absurd is that which is devoid of purpose... Cut off from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless” (Esslin 1973, p.5). Because Esslin used Beckett as his first example, an Absurdist reading of Waiting for Godot has already been well explored by scholars and practitioners. Another popular reading is deeply rooted in the existential struggle of humanity after World War II. A deconstruction of this play offers the potential to explore Beckett beyond the existential and Absurdist readings that critics and audiences typically use to understand Beckettian plays. This paper examines Godot through a post-structural lens. By integrating the theoretical concept of deconstruction suggested by Jacques Derrida with the psychoanalytic theories of Jacques Lacan's symbolic language, I seek to identify and interpret the symbols in this play as signifiers. -
The Material of Film and the Idea of Cinema: Contrasting Practices in Sixties and Seventies Avant-Garde Film*
The Material of Film and the Idea of Cinema: Contrasting Practices in Sixties and Seventies Avant-Garde Film* JONATHAN WALLEY I In 1976, the American Federation of Arts organized a major program of American avant-garde films made since the early 1940s. In his introduction to the program’s catalog, Whitney film curator and series organizer John Hanhardt argued that the central preoccupation of filmmakers across the history of avant-garde cinema had been with the exploration of the material properties of the film medium itself: “This cinema subverts cinematic convention by exploring its medium and its properties and materials, and in the process creates its own history separate from that of the classical narrative cinema. It is filmmaking that creates itself out of its own experience.”1 Having traced the history of avant-garde film according to the modernist notion that an art form advances by reflexively scrutinizing the “properties and materials” of its medium, Hanhardt turned his attention to more recent developments. But these new developments were not entirely receptive to his modernist model. On the one hand, he argued, filmmakers were continuing to create works that engaged the physical materials of film—film strip, projector, camera, and screen—and the range of effects these made possible. On the other, this engagement appeared to be leading some filmmakers to create cinematic works challenging the material limits of the film medium as it had been defined for over eighty years. For example, in Anthony McCall’s Line Describing a Cone (1973), the focus of the viewer’s attention was not an image projected onto a screen, but the projector beam itself, which over the course of thirty minutes grew from a thin line of light to a cone—a three-dimensional light sculpture with which the viewer could interact. -
Thesis-Time-In-Beckett.Pdf
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Miriam Zbíralová Time in the Plays of Samuel Beckett Bachelor‟s Diploma Thesis Supervisor: Mgr. Pavel Drábek, Ph. D. 2010 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author‟s signature I would like to thank my supervisor, Mgr. Pavel Drábek, Ph.D., for his valuable advice during the whole process of writing the thesis. Table of Contents: Introduction ....................................................................................................................... 5 1 Time and the Performance ............................................................................................. 6 1.1 The Unity of Time and Fictional versus Performance Time .................................. 6 1.2 Tempo ..................................................................................................................... 8 2 Time and the Structure of the Plays ............................................................................. 11 2.1 Cyclical Development ........................................................................................... 11 2.2 Suspense ................................................................................................................ 14 3 Time and the Characters .............................................................................................. 16 3.1 The Past and the Future -
Ending the Mother Ghost: Beckett's Ill Seen Ill Said and Rockaby
This is a repository copy of Ending the Mother Ghost: Beckett’s Ill Seen Ill Said and Rockaby. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/129513/ Version: Published Version Article: Piette, A.C. (2014) Ending the Mother Ghost: Beckett’s Ill Seen Ill Said and Rockaby. Complutense Journal of English Studies, 22. pp. 81-90. ISSN 2386-3935 Reuse This article is distributed under the terms of the Creative Commons Attribution (CC BY) licence. This licence allows you to distribute, remix, tweak, and build upon the work, even commercially, as long as you credit the authors for the original work. More information and the full terms of the licence here: https://creativecommons.org/licenses/ Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Ending the Mother Ghost: Beckett's Ill Seen Ill Said and Rockaby Adam PIETTE University of Sheffield, UK School of English [email protected] ABSTRACT This paper looks at two late texts written in 1981 by Samuel Beckett, the novel Ill Seen Ill Said and the play Rockaby, and reads them as difficult Oedipal elegies for his mother May Beckett who had died thirty years previously. The close reading of the texts brings out the conflicted psychoanalytic contradictions of the representations, especially the son’s strange identification with the mother brought on by the fact Beckett was himself approaching his mother’s age when she died. -
“The Breathing Costume” the Breath As a Vehicle for Character Development
“THE BREATHING COSTUME” THE BREATH AS A VEHICLE FOR CHARACTER DEVELOPMENT Jessica Wolf Inspire: To infuse an animating, quickening, or exalting infuence Inspire: To infuse breath or life by breathing American College Dictionary It’s a perpetual problem: Macbeth stifens and gasps for air. Cleopatra narrows her ribs and holds her breath. Falstaf’s internal collapse causes him to breathe with an audible snif. Tese familiar patterns of tension interfere with many actors’ ability to express themselves. Tey are ofen the result of a misunderstanding of the use of the respiratory system. For the past fve years, I have been working at Yale Drama School with some of the most talented young actors in America. Te acting program is part of the three-year graduate school. I am the only Alexander teacher on the faculty, so I work with all the students during the course of their training. Te actors study in group classes and have private lessons. I have a unique approach to teaching actors. An actor’s objective is to communicate and express the feelings and emotions of the character they are portraying. My work helps the students become familiar with their breath as it conveys emotion, supports the voice and fuels movement. Many actors and directors say that an actor can draw inspiration from a small gesture, a prop or a special piece of clothing. I believe that the awareness and use of the breath can inspire inventive and imaginative interpretations of characters by infuencing frame of mind, alignment, fexibility - 14 - and vocal quality. Awareness and function of the breath has always interested me. -
Modes of Being and Time in the Theatre of Samuel Beckett
f.'lODES Ol!' BEING AND TIME IN THE THEATRE OF SANUEL BECKETT MODES OF BEING AND TIME IN THE THEATRE OF SAMUEL BECKETT By ANNA E.V. PRETO, B.A., LICENCE ES LETTRES A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree TvIaster of Arts !-1cMaster Uni versi ty October 1974 MASTER OF ARTS (1974) McMASTER UNIVERSITY (Romance Languages) Hamilton, Ontario TITLE: Modes of Being and Time in the Theatre of Samuel Beckett AUTHOR: Anna E.V. Preto, B.A. (University of British Columbia) Licence es Lettres (Universite de Grenoble) SUPERVISOR: Dr. Brian S. Pocknell NUNBER OF PAGES: vi, 163 ii AKNOWLEDGEMENTS I wish to thank Dr. Brian S. Pocknell for his interest, his encouragement and counsel in the patient supervision of this dissertation. I also wish to thank McMaster University for its generous financial assistance. iii CONTENTS I An Introduction to the Beckett Situation 1 II Being on the Threshold to Eternity: Waiting for Godot and Endgame 35 III The Facets of the Prism: Beckett's Remaining Plays 74 IV The Language of the Characters and Time 117 Conclusion 147 Bibliography 153 iv PREFACE Beckett as an author has inspired an impressive range of critical studies to date. The imposing amounts of critical material bear witness to the richness of his writings, which present a wealth of themes and techniques. His plays concentrate for us the problem-themes that already concerned him in his earlier prose works, and bring them to the stage in a more streamlined form. The essential problem which evolves from Beckett's own earlier writings comes to the fore, downstage, in the plays: it is that of being in time, a purgatorial state, the lot of mankind and of Beckett's characters, who are representative of mankind. -
Waiting for Godot Tragicomedy in 2 Acts
Waiting for Godot tragicomedy in 2 acts By Samuel Beckett Estragon Vladimir Lucky Pozzo a boy ACT I A country road. A tree. Evening. Estragon, sitting on a low mound, is trying to take off his boot. He pulls at it with both hands, panting. # He gives up, exhausted, rests, tries again. As before. Enter Vladimir. ESTRAGON: (giving up again). Nothing to be done. VLADIMIR: (advancing with short, stiff strides, legs wide apart). I'm beginning to come round to that opinion. All my life I've tried to put it from me, saying Vladimir, be reasonable, you haven't yet tried everything. And I resumed the struggle. (He broods, musing on the struggle. Turning to Estragon.) So there you are again. ESTRAGON: Am I? VLADIMIR: I'm glad to see you back. I thought you were gone forever. ESTRAGON: Me too. VLADIMIR: Together again at last! We'll have to celebrate this. But how? (He reflects.) Get up till I embrace you. ESTRAGON: (irritably). Not now, not now. VLADIMIR: (hurt, coldly). May one inquire where His Highness spent the night? ESTRAGON: In a ditch. VLADIMIR: (admiringly). A ditch! Where? ESTRAGON: (without gesture). Over there. VLADIMIR: And they didn't beat you? ESTRAGON: Beat me? Certainly they beat me. VLADIMIR: The same lot as usual? ESTRAGON: The same? I don't know. VLADIMIR: When I think of it . all these years . but for me . where would you be . (Decisively.) You'd be nothing more than a little heap of bones at the present minute, no doubt about it. ESTRAGON: And what of it? VLADIMIR: (gloomily). -
Krapp's Last Tape by Samuel Beckett, Gate Theatre
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Krapp's Last Tape by Samuel Beckett, Gate Theatre Author(s) Lonergan, Patrick Publication Date 2010 Publication Lonergan, Patrick. (2010). Krapp's Last Tape by Samuel Information Beckett, Gate Theatre. Irish Theatre Magazine Online. Publisher Irish Theatre Magazine Link to publisher's http://itmarchive.ie/ version Item record http://hdl.handle.net/10379/6643 Downloaded 2021-09-23T16:46:52Z Some rights reserved. For more information, please see the item record link above. Irish Theatre Magazine | Krapp's Last Tape http://itmarchive.ie/web/Reviews/Current/Krapp-s-Last-Tape-(1)... Irish Theatre Magazine Join our mailing list Contact Us Search Home News Reviews Books Features ITM Recommends About ITM Blog Current Ulster Bank Dublin Theatre Festival 2011 Absolut Fringe 2011 Previous Ulster Bank Dublin Theatre Festival '10 Absolut Fringe 2010 Ulster Bank Dublin Theatre Festival 09 Krapp's Last Tape 1 of 4 6/21/17, 3:05 PM Irish Theatre Magazine | Krapp's Last Tape http://itmarchive.ie/web/Reviews/Current/Krapp-s-Last-Tape-(1)... Michael Gambon as Krapp in the Gate Theatre production of 'Krapp's Last Tape' by Samuel Beckett. Photo Pat Redmond by Patrick Lonergan Reviewed 29 April Print This Page (Krapp-s-Last-Tape-(1).aspx.html#) Share This (http://www.addthis.com/bookmark.php?v=250&pub=irishtheatremagazine) It took Samuel Beckett about three weeks to write Krapp’s Last Tape. During that time, the play went through seven distinct stages which, according to the scholarship, involved a gradual stripping away of sentimentality: the text retained some realistic qualities, but it also became more surreal and more comical.