DOCSLIB.ORG

Download Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Program A S T R A C O N C E R T S 2 0 1 2 in association with THE ELEVENTH HOUR THEATRE 3X2X60 THREE AUTUMN WEEKENDS OF THEATRE WITH MUSIC I. 4 pm, Saturday 24 March and 4 pm, Sunday 25 March THE ELEVENTH HOUR THEATRE Fitzroy, Melbourne SAMUEL BECKETT JOHANNES BRAHMS CARLO GESUALDO MAURICIO KAGEL ERKKI VELTHEIM Richard Bligh, Evelyn Krape, Jane Nolan, David Tredinnick, Erkki Veltheim, Kim Bastin, The Astra Improvising Choir, The Astra Choir & solo ensembles actors (Beckett) Evelyn Krape, Jane Nolan ( Footfalls ), Richard Bligh, David Tredinnick ( Stirrings Still ) William Henderson director , Meredith Rogers associate director /designer players Erkki Veltheim viola, Kim Bastin piano vocal quintet (Gesualdo) Louisa Billeter, Laila Engle, Ben Owen, Evan Lawson, Steven Hodgson walking quintet (Kagel) Laila Engle, Gloria Gamboz, Steven Hodgson, Evan Lawson, Chris Rechner The Astra Improvising Choir Joan Pollock director , Jenny Barnes, Louisa Billeter, Laila Engle, Evan Lawson, Susannah Provan, Chris Rechner, Katie Richardson, Sarah Whitteron The Astra Choir soprano Jenny Barnes, Kristy de la Rambelya, Susanah Polya, Yvonne Turner, Louisa Billeter, Jean Evans, Emma Gardner, Maree Macmillan, Susannah Provan alto Laila Engle, Anna Gifford, Gloria Gamboz, Katie Richardson, Beverley Bencina, Jane Cousens, Pixie Lieu, Joan Pollock tenor Stephen Creese, Greg Deakin, Simon Johnson, Ben Owen, Richard Webb bass Alex Connelly, Evan Lawson, Bradley Posselt, Stephen Whateley Steven Hodgson, Andrew Rostas, Chris Rechner, Chris Smith, John Terrell John McCaughey conductor The idea of a succession of multi-form weekend events at The Eleventh Hour Theatre from William Henderson, its director with Anne Thompson for a decade, has led to these three jointly-curated programs, in which theatre and music might be experienced in wider definitions by relation to each other – rather than as composite ‘multi-media art’, which has been done so frequently and well in recent years. The Eleventh Hour has been noted for explorative larger productions, which included Shakespeare’s King John at the Adelaide Festival, but also its Melbourne Festival Endgame by Samuel Beckett, in which the live solo violin of Miwako Abe played an integral role. The later play of Beckett and his final prose piece form the hub of today’s event, around which a diverse array of musical performers – and modes of presentation – are gathered. Beckett’s elemental notions, footfalls, stirrings, and his compositional play at the boundaries of verbal and dramatic syntax, resonate in music of different kinds and historical styles. The impatient lover pacing through the forest night of Johannes Brahms’s choral quartet is set in melodic phrases that continually escape from the perimeters of the one before. Towards the end, the pacer invokes birds and breezes as a sonic force, to prevent his arrival being too late. In the Rückert poem of the other Brahms song, originally for alto voice with viola and piano, the same two natural elements of birds and winds are again in a state of acoustic animation, a whispering of the end inside Nature, captured by a network of poly- rhythmic life within the musical fabric. The Argentine-born Mauricio Kagel (1931-2008), a generation younger than Beckett (1906-1989), overlaps in preoccupations of their shared era, with a multitude of works taking musical processes into theatrical domains. His ‘walking scene’ Pas de cinq precedes the two Beckett works by one and two decades respectively. The five actants are set on a network of paths between the five points of a pentagram, with rhythmic phrases articulated by their two feet and a walking stick. The madrigals of the late-Renaissance prince Carlo Gesualdo remained unrecognized until the 20th century, with their maybe Beckett-like qualities of extremeness of the expressive present. The five voices are placed into a pressurized environment of dissonant and unexpected ‘vertical’ combinations, as well as startling ‘horizontal’ unfolding of the reiterated fragments of the poem. But if there is movement outward from Beckett’s verbal and dramatic qualities into a resonating environment, the reverse path is equally valid. As William Henderson has written: Beckett's works have often been set to music, but the essential musicality of the language across his entire oeuvre, and particularly his late work, has often been overlooked. He himself remarked: "My work is a matter of fundamental sounds…" - and as director he was heard to plead with an actor: “Don’t play that line realistically – there is music there, you know!” The combination with improvised music thus explores a given dimension and a new terrain. The Astra Improvising Choir was re-instituted in 2010 for a solo violin recital by Erkki Veltheim, himself a leading exponent of free-form playing in many styles. Today he is heard on his other instrument of viola, extending from the Brahms song to the interplay with the male actors’ voices. – JMcC 3X2X60 Autumn Weekends at The Eleventh Hour I. FOOTFALLS Johannes Brahms, PACING TO THE LOVER Op.31/3 (1864) from 3 quartets for choir with piano Samuel Beckett, FOOTFALLS (1975) Jane Nolan (May), Evelyn Krape (Voice), with improvising choir Entr’acte Mauricio Kagel, phrases from PAS DE CINQ, Walking Scene (1965) five walkers Carlo Gesualdo, MORO LASSO, Sixth Book of Madrigals (1611) five voices STIRRINGS STILL Johannes Brahms, YEARNING STILLED Op.91/1 (1884) from 2 songs for alto, viola and piano, arr. JMcC for choir Samuel Beckett, STIRRINGS STILL (1989) Richard Bligh and David Tredinnick with Erkki Veltheim, improvising viola Johannes Brahms, PACING TO THE LOVER Op.31/3 (1864) from 3 quartets for choir with piano Johannes Brahms , DER GANG ZUM LIEBCHEN – PACING TO THE LOVER Es glänzt der Mond nieder, The moon gleams down, Ich sollte doch wieder I must make my way Zu meinem Liebchen, once more to my sweet one, Wie mag es ihr gehn? how may she be faring? Ach weh, sie verzaget Alas, she’ll be fainting Und klaget und klaget, and crying and crying Dass sie mich nimmer that she’ll never see me Im Leben wird sehn. in this life again. Es ging der Mond unter, The moon went down, Ich eilte doch munter, yet I stepped on briskly, Und eilte, dass keiner and hurried, that no-one Mein Liebchen entführt. steals off with my sweet one. Ihr Täubchen, O girret, You wood-doves, keep cooing! Ihr Lüftchen, O schwirret, You breezes, keep whirring! Dass keiner mein Liebchen that none with my sweet one, Mein Liebchen entführt! my sweet one, steals off! – trad. Bohemian adapted by Josef Wenzig Carlo Gesualdo , MORO LASSO – I DIE WRETCHED Moro, lasso, al mio duolo I die, wretched, from my grief E chi mi può dar vita, and the one one who could give me life Ahi, che m'ancide Ah! murders me e non vuol darmi aita! and does not wish to give me help! O dolorosa sorte, O dolorous fate, Chi dar vita i può, the one who can give life, ahi, mi dà morte! Ah! gives me death! Johannes Brahms, GESTILLTE SEHNSUCHT – YEARNING STILLED In gold'nen Abendschein getauchet, Dipped into the golden evening glow, Wie feierlich die Wälder stehn! how solemnly the forests stand! In leise Stimmen der Vöglein hauchet Into the birds’ soft voices breathes Des Abendwindes leises Weh'n. the evening wind’s soft fluttering. Was lispeln die Winde, die Vögelein? What do they whisper, the winds, the birds? Sie lispeln die Welt in Schlummer ein. They whisper the world into sleep. Ihr Wünsche, die ihr stets euch reget You, my desires, that are always stirring Im Herzen sonder Rast und Ruh! within my heart without rest or peace! Du Sehnen, das die Brust beweget, Oh yearning that agitates my breast Wann ruhest du, wann schlummerst du? When will you rest, when will you sleep? Beim Lispeln der Winde, der Vögelein, By the whispering of the winds and birds, Ihr sehnenden Wünsche, wann schlaft ihr ein? you yearning desires, when will you fall asleep? Ach, wenn nicht mehr in gold'ne Fernen But when no more into the golden distance Mein Geist auf Traumgefieder eilt, my spirit hastens on its wings of dreams, Nicht mehr an ewig fernen Sternen no more my eyes with gaze of yearning Mit sehnendem Blick mein Auge weilt; are fixed on eternally distant stars, Dann lispeln die Winde, die Vögelein then they will whisper, the winds, the birds, Mit meinem Sehnen mein Leben ein. to still my longing, together with my life. – Friedrich Rückert 1816 translations JMcC Autumn Weekends Curators: William Henderson, John McCaughey next weekend (31 March / 1 April): Monique diMattina (piano and composition) -– Sun Signs and π.ο. performance poet) – 24 Hours , a poem of Fitzroy with Martin Friedel (composer) and Peter Dumsday (improvising piano) Concert Manager: Margaret Lloyd Astra Manager: Gabrielle Baker Theatre Manager: Vanessa Rowell Sound Engineer: Michael Hewes Front of House: Stiabhna Baker-Holland, George Baker-Holland Astra concerts receive support in 2012 from numerous private donors; The William Angliss Trust; Diana Gibson; The Ian Potter Foundation; The Salzer Foundation. ASTRA CHAMBER MUSIC SOCIETY Chair: Graeme Leak Manager: Gabrielle Baker Musical Director: John McCaughey PO Box 365, North Melbourne, Victoria 3051, Australia ABN 41 255 197 577 Tel: +61 (3) 9326 5424 email: [email protected] web: www.astramusic.org.au .
Load more

Recommended publications
  • HCR20CD Itunes Booklet
    Speak, Be Silent Riot Ensemble Chaya Czernowin Anna Thorvaldsdóttir Mirela Ivičević Liza Lim Rebecca Saunders Speak, Be Silent Riot Ensemble Kate Walter – flutes [1-6] John Garner – violin [2, 4-6] Carla Rees – flute [7] Stephen Upshaw – viola [1-6] Philip Hayworth – oboe [4-6] Louise McMonagle – violincello [1-6] Ausiàs Garrigós Morant – clarinets [1-7] Marianne Schofield – double bass [4-7] Ruth Rosales – bassoon [4-6] Adam Swayne – piano [1, 3] Amy Green – saxophone [4-6] Neil Georgeson – piano [2, 4-6] Fraser Tannock – trumpet [4-6] Claudia Maria Racovicean – piano [7] Andy Connington – trombone [4-6] Anneke Hodnett – harp [4-6] Jack Adler McKean – tuba [4-6] David Royo – percussion [1-7] Sarah Saviet – violin [1-3, soloist 4-6] Aaron Holloway-Nahum – conductor Recording venue: AIR Studios, London, 7-9 September 2018 Recording producer/mixing: Moritz Bergfeld Editing/mastering: Aaron Holloway-Nahum Booklet notes: Tim Rutherford-Johnson Chaya Czernowin, Ayre … published by Schott Music Anna Thorvaldsdóttir, Ró published by Chester Music Ltd. Mirela Ivičević, Baby Magnify/Lilith’s New Toy commissioned by the Riot Ensemble Liza Lim, Speak, Be Silent published by Casa Ricordi Rebecca Saunders, Stirrings Still II published by Edition Peters Cover photograph: Francesca Rengel Design: Mike Spikin Project management: Aaron Cassidy and Sam Gillies, CeReNeM for Huddersfield Contemporary Records (HCR) in collaboration with NMC Recordings 2 At the start of her score, Ró, the Icelandic composer Anna Thorvaldsdóttir writes to her players, ‘When you see a long sustained pitch, think of it as a fragile flower that you need to carry in your hands and walk the distance on a thin rope without dropping it or falling.’ Ró is full of such ropes.
    [Show full text]
  • BECKETT and the QUEST for MEANING Martin Esslin The
    BECKETT AND THE QUEST FOR MEANING Martin Esslin The twentieth century has been a turbulent and unhappy age, dominated by fanaticisms, ideologies that proclaimed themselves as infallibly based on would-be scientific truths about race or class, and in consequence a period of unprecedented violence and cruelty. In those distant days, in nineteen-thirties Vienna, when as a school­ boy I joined an underground Communist cell and was, in hidden clear­ ings in the woods on summer Sundays, indoctrinated in the principles of Marxism, I learned that this system of thought had now become a scien­ tific truth beyond doubt, and that therefore anyone who wanted to pursue policies that contradicted it had to be liquidated for the general good. (It was the period of the great Moscow trials.) At the same time, some of my friends at school who belonged to the equally illegal and underground Hitler youth assured me that inferior races like the Jews had been scien­ tifically established as being so noxious to the future health of humanity that it was an urgent necessity to kill them all, not realizing that I, their friend, was included in this verdict. Those totalitarian creeds are now in disrepute, but the world is still threatened by violent fanaticisms and fundamentalisms of numerous varieties: the vacuum created by the decline of traditional religious be­ liefs in the nineteenth century, still far from having been filled, has grown ever wider as it has become less and less possible to accept the literal truth of events like the Resurrection. Those who still cling to them revert to the primitivism of fundamentalist cults; most others are left with an equally primitive, stultifying and barren materialism.
    [Show full text]
  • UNHEARD FOOTFALLS ONL Y SOUND: "Neither" in Translation
    UNHEARD FOOTFALLS ONLY SOUND: "neither" in Translation neither to and fro in shadow from inner to outer shadow from impenetrable self to impenetrable uns elf by way of neither as between two lit refuges whose doors once neared gently closed, once turned away from gently part again beckoned back and forth and turned away heedless of the way, intent on the one gleam or the other unheard footfalls only sound till at last halt for good, absent for good from self and other then no sound then gently light unfading on that unheeded neither unspeakable horne For a translation workshop on Beckett's "neither" eight partIClpants from six different language backgrounds each prepared a translation in his or her own language, as well as a literal translation back into English. Through a discussion of the problems each translator encountered, the session became an exercise in elose reading and literary criticism as weIl as an opportunity to compare the linguistic and cultural translating difficulties presented by various languages. Erika Tophoven - Germany (Erika Tophoven-Schöningh and the late Elmar Tophoven are the two authorized translators of Beckett's work into German) : I started translating Beckett together with my husband in 1957. All That Fall was Beckett's first text in English that we did. Because my husband was not very good in English and I had just finished my English studies, I helped hirn. The whole oeuvre has been translated into German by uso After my husband's death I continued alone with Stirrings Still and Le monde et le pantalon. I keep all the material (notes) and correspondence for later study.
    [Show full text]
  • Creative Concurrence. Gearing Genetic Criticism for the Sociology of Writing
    Variants The Journal of the European Society for Textual Scholarship 15-16 | 2021 Textual Scholarship in the Twenty-First Century Creative Concurrence. Gearing Genetic Criticism for the Sociology of Writing Dirk Van Hulle Electronic version URL: https://journals.openedition.org/variants/1405 DOI: 10.4000/variants.1405 ISSN: 1879-6095 Publisher European Society for Textual Scholarship Printed version Date of publication: 1 July 2021 Number of pages: 45-62 ISSN: 1573-3084 Electronic reference Dirk Van Hulle, “Creative Concurrence. Gearing Genetic Criticism for the Sociology of Writing”, Variants [Online], 15-16 | 2021, Online since 01 July 2021, connection on 13 September 2021. URL: http:// journals.openedition.org/variants/1405 ; DOI: https://doi.org/10.4000/variants.1405 The authors cb 2021. This work is licensed under a Creative Commons “Attribution 4.0 International” license. Creative Concurrence. Gearing Genetic Criticism for the Sociology of Writing Dirk Van Hulle Abstract: This essay is an attempt to come to terms with a phenomenon that characterizes many authors’ oeuvres: the concurrent composition of several works. My suggestion is to refer to this phenomenon as creative concurrence, drawing on experiences from two related disciplines, bibliography and the his- tory of the book — notably D. F. McKenzie’s “sociology of texts” and the concept of “concurrent production” — in order to cross-pollinate genetic criticism. G — most explicitly put for- ward in Pierre-Marc de Biasi’s functional typology of genetic documentation (Biasi
    [Show full text]
  • Samuel Beckett's 'The Way' and Stirrings Still: Analysing the Self
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sanglap: Journal of Literary and Cultural Inquiry Sanglap 4.1 (Sep 2017) Samuel Beckett’s ‘The Way’ and Stirrings Still: Analysing the Self from ‘Schopenhauerian Buddhist’ Perspective Pavneet Kaur Samuel Beckett is considered an exemplar of ‘placeless’ expression in world literature today. He acquired an international reputation after the premiere of Waiting for Godot in 1953 and received the Nobel Prize for literature in 1969. The award confirms Beckett’s status as a writer who extends a considerable literary influence beyond cultural boundaries. In the light of his commitments to ‘ignorance’ and ‘impoverishment,’ this article addresses the expression of nothingness in the idea of the self. The nothingness of the self, portrayed in Beckett’s late short prose pieces like ‘The Way’ and Stirrings Still can be characterised as disintegrated, dependent and essenceless. This highlights a positive aspect of nothingness, embedded in the expression of the self that flourishes beyond Western cultural boundaries. These characteristics of the presentation of the self in Beckett’s literary works in turn, owe much to the influence of the German philosopher Arthur Schopenhauer, who, in turn, owes much to the Eastern philosophies of Buddhism and the Vedas. These intercultural exchanges make Beckett an interesting case for world literature. David Damrosch writes that Goethe coined the term Weltliteratur while speaking to Johann Peter Eckermann in January 1827 and also affirms that “the work enters into world literature by a double process: first, by being read as literature; second, by circulating out into a broader world beyond its linguistic and cultural points of origin” (6; emphasis original).
    [Show full text]
  • Watt and the Textual Genesis of Stirrings Still Dirk Van Hulle
    ‘(HIATUS IN MS.)’: Watt and the Textual Genesis of Stirrings Still Dirk Van Hulle “So on”, the first words of the last section of Stirrings Still could serve as the motto of Samuel Beckett’s poetics of process. His last piece of prose shows that in order to study this poetics, it is illuminating to concentrate on moments in the genesis when he could not proceed. One such cul-de-sac in the writing process is based on an intratextual reference to the first sentence of Watt, omitting a few words. Even though this passage did not make it into the final text of Stirrings Still, it is an integral part of Beckett’s work, showing the importance of pauses, gaps, hiatus, breathing spaces, as well as the significance of punctuation and – perhaps even more the striking – the lack thereof. During the Second World War, when Beckett was writing Watt, his French colleague Francis Ponge (1899-1988) published Le Parti pris des choses.1 One of the texts in this book, Escargots, is conceived as a modest poetical statement on writing. Ponge describes the snails’ main activity simply as “Go on”. In retrospect, from a post-Unnamable perspective, these two English words sound very Beckettian, especially since they are italicized and highlighted as foreign words in this French text: Les escargots aiment la terre humide. Go on, ils avancent collés à elle de tout leur corps. Ils en emportent, ils en mangent, ils en excrémentent. Elle les traverse. Ils la traversent. (Ponge 1999, 24-5) Go on was to become the motto of Beckett’s poetics, and precisely because it is such a crucial notion in his writing, it is important to focus on those instances in the writing process where he could not go on.
    [Show full text]
  • Perceiving the Self in Samuel Beckett's Company and Francis
    FACULTAD de FILOSOFÍA Y LETRAS DEPARTAMENTO de FILOLOGÍA INGLESA Grado en Estudios Ingleses TRABAJO DE FIN DE GRADO Perceiving the Self in Samuel Beckett’s Company and Francis Bacon’s Paintings Ana Álvarez Guillén Tutora: María José Carrera de la Red 2013-2014 ABSTRACT This Bachelor’s Thesis analyses the relations between Samuel Beckett’s novella Company (1980) and a selection of Francis Bacon’s paintings. With the theme of self- perception as its central axis, my study looks at perception from both the writer’s and the painter’s Modernist perspectives. I have structured it around two poles: one revolves around the fragmented ontology evident in both artists, whereas the other adopts a more aesthetic perspective. Through a comparative analysis that unravels and broadens what the work of both Irishmen communicates, a better understanding of both Beckett’s text and Bacon’s paintings will be achieved. Keywords: Samuel Beckett, Francis Bacon, Modernism, self-perception, figure, space. Este Trabajo de Fin de Grado analiza las relaciones entre la novela corta de Samuel Beckett Company (1980) y la pintura de Francis Bacon. El tema de la autopercepción es el eje central de mi estudio, que analiza la percepción desde la perspectiva modernista del escritor y el pintor. El trabajo se halla estructurado en torno a dos visiones principales: la primera gira en torno a la ontología fragmentaria evidente en ambos artistas, mientras que la segunda adopta un punto de partida más estético. Por medio de un análisis comparativo que desentraña y amplía aquello que transmite la obra de Beckett y Bacon alcanzaremos una mejor comprensión tanto del relato del primero como de la pintura del segundo.
    [Show full text]
  • Beckett Sources and Abbreviations
    Beckett Sources and Abbreviations Published sources ATF All That Fall in Collected Shorter Plays of Samuel Beck- ett, 9–39 (London: Faber and Faber, 1984). CP The Collected Poems of Samuel Beckett, edited by Seán Lawlor and John Pilling (London: Faber and Faber, 2012). Company Company (New York: Grove, 1980). Disjecta Disjecta: Miscellaneous Writings and a Dramatic Fragment, edited by Ruby Cohn (London: Calder, 1983). Dream Dream of Fair to Middling Women, edited by Eoin O’Brien and Edith Fournier (Dublin: Black Cat Press, 1992). DN Beckett’s ‘Dream’ Notebook, edited by John Pilling (Reading: Beckett International Foundation, 1999). Footfalls Footfalls in Collected Shorter Plays of Samuel Beckett, 237–43 (London: Faber and Faber, 1984). GT Ghost Trio in Collected Shorter Plays of Samuel Beckett, 245–54 (London: Faber and Faber, 1984). Krapp Krapp’s Last Tape in Collected Shorter Plays of Samuel Beckett, 53–63 (London: Faber and Faber, 1984). Letters The Letters of Samuel Beckett (Cambridge: Cambridge University Press, 2009– ). Volume I: 1929–1940, edited by Martha Dow Fehsenfeld and Lois More Overbeck (2009); Volume II: 1941–1956, edited by George Craig, Martha Dow Fehsenfeld, Dan Gunn, and Lois More Overbeck (2011). MD Malone Dies in The Beckett Trilogy (London: Pan Books / Picador, 1979). Molloy Molloy in The Beckett Trilogy (London: Pan Books / Picador, 1979). MPTK More Pricks Than Kicks (New York: Grove, 1972). Murphy Murphy (London: Picador, 1973). 458 Headaches among the Overtones neither neither in The Complete Short Prose 1929–1989, edited by S. E. Gontarski, 258 (New York: Grove Press, 1995). NT Nacht und Träume in Collected Shorter Plays of Samuel Beckett, 303–6 (London: Faber and Faber, 1984).
    [Show full text]
  • Breath Crystals a Vestigial Poetics of Breath in Beckett, Celan, and Arikha
    Samuel Beckett Today / Aujourd’hui 30 (2018) 179–195 brill.com/sbt Breath Crystals A Vestigial Poetics of Breath in Beckett, Celan, and Arikha David Lloyd University of California Riverside [email protected] Abstract This essay draws out some largely unremarked aesthetic convergences between Samuel Beckett and two Romanian-Jewish, German-language contemporaries of his: the poet Paul Celan and the painter Avigdor Arikha. Résumé Cet essai met en relief quelques points de confluence esthétique peu remarqués entre Samuel Beckett et deux de ses contemporains juif-roumains d’expression allemande, le poète Paul Celan et le peintre Avigdor Arikha. Keywords breath – aesthetics – trace – vestige – souffle – esthétique – trace – vestige Adorno’s remarks on Beckett’s “negative καιρός” might properly be extended to Celan’s work: At ground zero, however, where Beckett’s plays unfold like forces in infini- tesimal physics, a second world of images springs forth, both sad and rich, the concentrate of historical experiences that otherwise, in their imme- diacy, fail to articulate the essential: the evisceration of subject and real- ity. This shabby, damaged world of images is the negative imprint of the administered world. 30–31 © koninklijke brill nv, leiden, 2018 | doi:10.1163/18757405-03002003 180 lloyd This essay explores one such convergence around that “negative καιρός”, the peculiar and idiosyncratic invocation of breath in both their works as a marker of the marginal presence of human being and as a reduction of the working of art to its minimal element—what Celan in his lecture “Meridian” calls “an Atemwende, a turning of breath” (1983, 52/ 1986, 58).
    [Show full text]
  • The Stirrings Still of Popuiar Forms Of
    The Stirrings Still of Popuiar Forms of Entertainment in Samuel Beckett's First Published Play: Examining the Influences of the Music-Hall, Vaudeville, Circus and Early Screen Cornedy on Waiting for Godot Lisa Gorecki A Thesis in The Deparnent of English Presented in Partial Fulfilrnent of the Requirements for the ûegree of Master of Arts at Concordia University Montreal, Quebec, Canada July 1997 43 Lisa Gorecki, 1997 National Library Bibliothèque nationale 1+1 of,, du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 OttawaON K1A ON4 Canada carlada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seIi reproduire, prêter, distribuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts f?om it Ni la thèse ni des extraits substantiels may be printed or othewise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received. ii This reproduction is the best copy available.
    [Show full text]
  • Cambridge University Press 978-1-108-47185-5 — the New Samuel Beckett Studies Edited by Jean-Michel Rabaté Index More Information
    Cambridge University Press 978-1-108-47185-5 — The New Samuel Beckett Studies Edited by Jean-Michel Rabaté Index More Information Index Abandonment of works, 36–45 Barry, Liz, 238 Abandonné, 36 Barthes, Roland, 94–95 Abbott, H. Porter, 30, 75, 233 Bataille, Georges, 95–96 Abu Ghraib, 12–13 Beckett, Samuel. See also specific topic or work Ackerley, Chris, 138, 145, 216–217, 218, 228–229 bilingualism of (See Bilingualism of Beckett) Acton, William, 178 collaboration by, 120 Acts of Literature (Derrida), 95 digital media and (See Digital media) Admussen, Richard, 36 as director, 7–8 Adorno, Theodor W., 4, 8–9, 10–12, 88–89, 164 disability and (See Disability) Aesthetic Theory (Adorno), 9 enduring popularity of, 3–13 Algerian War of Independence, 12 historical context of works, 103–114 (See also All Strange Away, 30–31, 37–43, 224–225, 228 Historical context of Beckett’s works) All That Fall, 121–122, 134, 137, 138, 139, 140–141, letter writing by, 48–55 142, 143, 149 literary criticism of (See Literary criticism of Anacreon, 70 Beckett) Anders, Günther, 4–7 mathematics and (See Mathematics) Annales School, 107 moving image works by, 122–124 Aphasia, 198–199, 207 poetry of (See Poetry of Beckett) Apollinaire, Guillaume, 74 political resistance and, 8–9 Aragon, Louis, 203–204 politics of, 12 Arendt, Hannah, 110 queer issues and (See Queer issues) Arikha, Avigdor, 41, 50, 53, 59, 74–75 radio works by, 120–122 (See also Radio works) Art and Language (collective), 124–125 reflexes and (See Reflexes) Art: 21 (documentary), 125 revolution in approach
    [Show full text]
  • Beckett-Company.Pdf
    Company Samuel Beckett A voice comes to one in the dark. Imagine. To one on his back in the dark. This he can tell by the pressure on his hind parts and by how the dark changes when he shuts his eyes and again when he opens them again. Only a small part of what is said can be verified. As for example when he hears, You are on your back in the dark. Then he must acknowledge the truth of what is said. But by far the greater part of what is said cannot be verified. As for example when he hears, You first saw the light on such and such a day. Sometimes the two are combined as for example, You first saw the light on such and such a day and now you are on your back in the dark. A device perhaps from the incontrovertibility of the one to win credence for the other. That then is the proposition. To one on his back in the dark a voice tells of a past. With occasional allusion to a present and more rarely to a future as for example, You will end as you now are. And in another dark or in the same another devising it all for company. Quick leave him. Use of the second person marks the voice. That of the third that cankerous other. Could he speak to and of whom the voice speaks there would be a first. But he cannot. He shall not. You cannot. You shall not. Apart from the voice and the faint sound of his breath there is no sound.
    [Show full text]