DOCSLIB.ORG

Introduction: Intuition/Image/Event: 'Beckett's Peephole' As Audio

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction: Intuition/Image/Event: 'Beckett's Peephole' As Audio Notes Introduction: Intuition/Image/Event: ‘Beckett’s Peephole’ as Audio- Visual Rhizome 1. The quote is from Beckett’s The Unnamable. 2. Beckett first outlines this concept in his 1932 novel, Dream of Fair to Middling Women, where the character Belacqua desires to write a book whereby ‘The experience of my reader shall be between the phrases, in the silence, communicated by the intervals, not the terms, of the statement.’ Beckett (1992), p. 138. 3. I will discuss this distinction in Chapter 1. 4. See Uhlmann (1999), specifically chapter 2; (2004), pp. 90–106; and (2006). 1 Thinking the Unthinkable: Time, Cinema and the Incommensurable 1. They could thus be said to be more ‘thallic’ than ‘phallic’, horizontally fugitive rather than vertically hierarchical, molecular rather than molar. On the ‘ thallic’, see Weber (1982), pp. 65–83. 2. The Proustian implications of this temporal multiplicity are obvious, although Proust, like Beckett, is less concerned with duration, the past-present’s ability to ‘move on’ as becoming- future, than with the role of memory as a means of destroying the pernicious influence of habit. His distinction between voluntary and involuntary memory is predicated on a desire to preserve lost time as it survives in itself, the better to regain it for ourselves as art. 3. See Bellour (1977), pp. 66–91; (1986), pp. 66–101. 4. The reference to Wim Wender’s Falsche Bewegung (1975) is not uncoincidental. Wenders is paradigmatic of one aspect of the crystal- image in Cinema 2. See pp. 76–8. 5. For Nietzsche’s eternal return as an affirmation of difference, see Deleuze (1983). 6. ‘The will to power is, indeed, never separable from particular determined forces, from their quantities, qualities and directions. It is never superior to the ways that it determines a relation between forces, it is always plastic and changing.’ Deleuze (1983), p. 50. 2 Beyond Percept and Affect: Beckett’s Film (1964) and Non- Human Becoming 1. Clark’s version can be viewed on DVD at the BFI archive in London. 2. The room, like the vestibule, was an Upper West Side studio set built to Beckett’s exacting specifications. 190 Notes 191 3. According to Rosemary Pountney, Beckett originally planned to have a recent scowling photo of O himself on the wall with a dedication to his mother, dated Xmas 1929. See Pountney (1988), p. 126. 4. A possible allusion to Keaton’s The Cameraman (1928), where a pet monkey saves the day. 5. Note how God is also represented as a split subject in the form of two parts of the Holy Trinity. 3 From ‘Dialoghorrhea’ to Mental- Image: Comédie (1966), Not I (1977) and What Where (1986) 1. Karmitz went on to have a distinguished career as both director – most notably his post- May ’68 political drama, Coup pour coup (1972) – and producer: Godard’s Sauve qui peut (la vie) (1980); Claude Chabrol’s Madame Bovary (1991); and Krzysztof Kieslowski’s Three Colours trilogy: Blue, White and Red (1993–94). 2. In the western, for example, the ultimate encompasser is the sky and its pulsations, which envelops the milieu and, in turn, the collectivity that develops and acts within it. 3. Lutterbie (1991) gives an excellent account of these processes in his essay, ‘Tender Mercies’. 4. In contrast, while Sean McGinley plays both images of Bam, Gary Lewis plays Bem, Bim and Bom in Damien O’Donnell’s 1999 ‘Beckett on Film’ production. 4 Matter and Memory: The Image as Impersonal Process in Eh Joe (1966), Ghost Trio (1977) and ...but the clouds... (1977) 1. Even so, the image quality benefited a great deal from its BBC 2 airing – 625 lines, UHF sound (compared to 405 lines and VHF on BBC 1 until 1969). 2. For an excellent comparative analysis of three different versions of Eh Joe, see Herren (1998). 3. All four versions may be viewed at the Avery Fisher Center for Music and Media of New York University’s Bobst Library. 4. This seems to be a variation on the opening of Robert Browning’s ‘Rabbi Ben Ezra’: ‘Grow old along with me! / The best is yet to be, / The last of life, for which the first was made: / Our times are in his hand / Who saith, “A whole I planned, / Youth shows but half; trust God: see all, nor be afraid!”’ 5. There are already obvious structural similarities to Beckett’s radio piece, Words and Music. 6. It is absent from the Herms/Whitelaw production, suggesting that Joe is too exhausted from his battle with Voice’s whispered venom to even acknowledge any sort of ‘victory’. 7. According to cameraman Jim Lewis, the perfectionist Beckett wanted the corners of the lips to protrude into the image by ¼ cm, not ½. Deleuze (1997c), p. 205 n. 70. 192 Notes 8. Both ...but the clouds... and Ghost Trio were subsequently remade in Polish as …jak obloki... (1987) and Trio Widm (1988) respectively by Antoni Libera for Theatre Centre ‘Warsztatowa’. 9. My analysis of the musical elements in Ghost Trio is heavily indebted to Fletcher and Fletcher (1978), pp. 235–6; and Catherine Laws’s superb account (2003). 10. The cassette player emits music only when the protagonist is seated, leaning over the machine. 11. Beckett uses the opening to bar 83 in the SDR version. 12. For an excellent discussion of these points see Douglas (1990), pp. 19–20. 13. This shot is cut from the SDR version. 14. In the SDR version, ‘F’ bows his head when confronted by his double, so that his hair is reflected in the mirror, suggesting that this is not a literal point- of- view shot – otherwise, following his eyes, we would see the floor – but a free- indirect construction of subjectivity. 15. The oilskins are only in the BBC version. 16. The Bresson citation is taken from (1977), p. 46. Translation modified. 17. For further discussion of Duras’s use of pre- diegetic sound see Liang (2007). 18. Beckett himself asked for the shot to be as unreal as possible. Bignell (2009), p. 110. 19. In an earlier draft, this line is in the present tense, suggesting that Beckett, like M, was self- reflexively aware of a similar process of revision intrinsic to the act of mental creation, both within and outside the exegesis. 20. An early typescript has W speak in her own voice, but Beckett crossed it out. Reading University Library, MS1553/3. 21. Several critics have pointed out the Shakespeare reference here: a line that Hamlet’s Horatio addresses twice to the ghost of the murdered king, a line also met with silence: ‘Stay, illusion! / If thou hast any sound, or use of voice, / Speak to me; / If there be any good thing to be done / That may to thee do ease and grace to me, / Speak to me’ – Act 1, Scene 1. 5 How to Build a Desiring Machine: Quad I & II (1981) 1. Ghost Trio and the TV version of Not I had originally been printed in colour before the decision was made to air them in black and white. 2. The SDR version was actually performed by two men and two women. 3. The paper will appear as the chapter, ‘ Desiring- Machines, Chaoids, Probeheads: Towards a Speculative Production of Subjectivity (Deleuze and Guattari)’, in O’Sullivan (2012). 4. The diagram is illustrated in its original context in Bergson (1991), p. 162. 6 Video- body, Video- brain: Nacht und Träume (1983) as Televisual Event 1. In addition to Herren (2007), see also Herren (2000a, 2000b). 2. The vocal ‘was performed by an amateur singer who worked in the studio’s technical crew and did not want his name to appear in the credits’. Kalb (1989), p. 254 n. 4. Notes 193 Conclusion: The Incommensurable Unnamable: Beckett, Deleuze and the Birth of the Event 1. In 2008 the SDR versions of Beckett’s teleplays were released on DVD by Absolut Medien, Berlin. The single- disk package includes a booklet featuring a German translation by Erika Tophoven of Deleuze’s ‘Épuisé’ entitled ‘Erschöpft’. Bibliography Abbott, H. Porter (1973) The Fiction of Samuel Beckett: Form and Effect (Berkeley and Los Angeles: University of California Press). Abbott, H. Porter (1975) ‘A Poetics of Radical Displacement: Samuel Beckett Coming up to Seventy’, Texas Studies in Literature and Language, 17:1, Spring, 219–38. Abbott, H. Porter (1999) ‘Samuel Beckett and the Arts of Time: Painting, Music, Narrative’, in Lois Oppenheim (ed.) Samuel Beckett and the Arts: Music, Visual Arts, and Non- Print Media (New York and London: Garland), pp. 7–24. Acheson, James (1999) ‘Beckett’s Film, Berkeley and Schopenhauer’, in Bruce Stewart (ed.) Beckett and Beyond (London: Colin Smythe, 1999), pp. 1–9. Acheson, James and Kateryna Arthur (eds) (1987) Beckett’s Later Fiction and Drama: Texts for Company (Basingstoke: Macmillan). Ackerley, C.J. and S.E. Gontarski (2004) The Grove Companion to Samuel Beckett (New York: Grove Press). Admussen, R.L. (1973) ‘The Manuscripts of Beckett’s Play’, Modern Drama, 16:1, June, 23–8. Albright, Daniel (2003) Beckett and Aesthetics (Cambridge University Press). Anonymous (1964) ‘Beckett’, The New Yorker, 8 August, pp. 22–3. Anonymous (1966) ‘Eh Joe?’, Radio Times, 30 June, p. 19. Anonymous (1966) ‘Looking In: When Joe Hears the Voice’, London Times, 5 July, p. 16. Antoine- Dunne, J.M.B. (2002) ‘Beckett and Eisenstein on Light and Contrapuntal Montage’, in Angela Moorjani and Carola Veit (eds) Samuel Beckett: Endlessness in the Year 2000 (Samuel Beckett Today/Aujourd’hui 11) (Amsterdam and New York: Editions Rodopi), pp. 315–23. Artaud, Antonin (1976) Antonin Artaud: Selected Writings, ed.
Load more

Recommended publications
  • Wordback to CONTENTS P AGE 1 WHA T IS the WORD P an P AN
    WHAT IS THE WORD WHAT PAN PAN PAN BACK TO CONTENTS PAGE 1 WHaT WOrD IS THE WHAT IS THE WORD WHAT PAN PAN PAN BACK TO CONTENTS PAGE 2 COnTEnTS WHAT IS THE WORD WHAT CONTENTS Contents Essay 4 Poems 8 Creatives 13 Creative Biographies 15 Speaker Biographies 20 CONTENTS BACK TO Pan Pan 32 PAGE 3 PAGE WHAT IS THE WORD WHAT Once more, with colour by Nicholas Johnson Speaking from experience, not everyone is overjoyed by an invitation to a poetry performance. It is not a clearly defined event with formal conditions: it could lead to a wide range of possible outcomes and feelings in the listener. The bardic tradition that sweeps across human cultures and histories — from the Homeric ESSAY epics to the Sufis, from the biwa hoshi of Japan to the filí of Ireland — shows both the depth and breadth of the human impulse to hear verse aloud. But in our cosmopolitan present, poetry being “voiced” could run the gamut from adolescent (painful sincerity at an open mic) to adult (earnest readings at university book launches) to transhuman (Black Thought’s ten-minute freestyle). Though poetry always transports us somewhere, the destination could be anywhere in Dante’s universe: infernal, purgatorial, or paradisiacal. This particular poetry performance is, perhaps fittingly for the year 2020, set in that everyday limbo that is the cinema. It is consciously conceived for the large-scale screen — a crucial gesture, when so much life is being lived on small screens — and as a physical, collective experience, with an audience in plush CONTENTS BACK TO seats, bathed in light, feeling the powerful surround-sound system within their bodies.
    [Show full text]
  • 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.
    [Show full text]
  • Waiting for Godot by Samuel Beckett
    PROSCENIUM Waiting For Godot By Samuel Beckett Waiting For Godot For Waiting Wednesday 16th January to Saturday 19th January 2008 Compass Theatre, Ickenham PROSCENIUM Waiting For Godot By Samuel Beckett Waiting For Godot For Waiting Wednesday 16th January to Saturday 19th January 2008 Compass Theatre, Ickenham WAITING FOR GODOT The Author 1906 Born on Good Friday, April 13th, at Foxrock, near Dublin, son of a quantity surveyor. Both parents were Protestants. BY SAMUEL BECKETT 1920-3 Educated at Portora Royal School, Ulster. 1923-7 Trinity College, Dublin. In BA examinations placed first in first class in Modern Literature (French and Italian). Summer 1926: first contact with France, a bicycle tour of the chateaux of the Loire. 1927-8 Taught for two terms at Campbell College, Belfast. CAST: 1928-30 Exchange lecturer in Paris. Meets James Joyce. 1930 First separately published work, a poem Whoroscope. Four terms as assistant lecturer in French, Trinity College, Dublin. Estragon.....................................................................................................Duncan Sykes Helped translate Joyce’s Anna Livia Plurabella into French. 1931 Performance of first dramatic work, Le Kid, a parody sketch Vladimir ................................................................................................ Mark Sutherland after Corneille. Proust, his only major piece of literary criticism, Pozzo .............................................................................................................. Robert Ewen published.
    [Show full text]
  • 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 ..................................
    [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]
  • History of Arena Stage: Where American Theater Lives the Mead Center for American Theater
    History oF arena Stage: Where American Theater Lives The Mead Center for American Theater Arena Stage was founded August 16, 1950 in Washington, D.C. by Zelda Fichandler, Tom Fichandler and Edward Mangum. Over 65 years later, Arena Stage at the Mead Center for American Theater, under the leadership of Artistic Director Molly Smith and Executive Director Edgar Dobie, is a national center dedicated to American voices and artists. Arena Stage produces plays of all that is passionate, profound, deep and dangerous in the American spirit, and presents diverse and ground- breaking work from some of the best artists around the country. Arena Stage is committed to commissioning and developing new plays and impacts the lives of over 10,000 students annually through its work in community engagement. Now in its seventh decade, Arena Stage serves a diverse annual audience of more than 300,000. When Zelda and Tom Fichandler and a handful of friends started Arena Stage, there was no regional theater movement in the United States or resources to support a theater committed to providing quality work for its community. It took time for the idea of regional theater to take root, but the Fichandlers, together with the people of the nation’s capital, worked patiently to build the fledgling theater into a diverse, multifaceted, internationally renowned institution. Likewise, there were no professional theaters operating in Washington, D.C. in 1950. Actors’ Equity rules did not permit its members to perform in segregated houses, and neither The National nor Ford’s Theatre was integrated. From its inception, Arena opened its doors to anyone who wished to buy a ticket, becoming the first integrated theater in this city.
    [Show full text]
  • Working on Film and Television Graley Herren Xavier University
    Xavier University Exhibit Faculty Scholarship English 2013 Working on Film and Television Graley Herren Xavier University Follow this and additional works at: http://www.exhibit.xavier.edu/english_faculty Part of the English Language and Literature Commons Recommended Citation Herren, Graley, "Working on Film and Television" (2013). Faculty Scholarship. Paper 8. http://www.exhibit.xavier.edu/english_faculty/8 This Book Chapter/Essay is brought to you for free and open access by the English at Exhibit. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Exhibit. For more information, please contact [email protected]. Working on Film and Television 193 [in German (1981)] and Nacht und Triiume [in German (1983)]; a film CHAPTER 17 adaptation of his srage play Play [Comidie] [in French (1966)]; and a television adaptation of his stage play What Where [Was Wo] [in German Working on Film and Television (1986)]. Impottant critical studies have placed Beckett's screen work firmly within the contexts of their media productions [primarily with the British Graley Herren Broadcasting Corporation (BBC) in England and Siiddeurscher Rundfi.mk (SDR) in West Germany]. Clas Zilliacus initiated this effort with his sem­ inal book Beckett and Broadcasting (1976), and Jonathan Bignell offers the most extensive evaluation of the institutional media contexrs in which the screen work was originally conceived, produced and broadcast in his book As a fledgling writer, Samuel Beckett was himself a critic.' He later Beckett on Screen (2009). Viral as the BBC mntext is to a full appreciation downplayed his criticism to Ruby Cohn as 'mere producrs of friendly obli­ of the teleplays, however, Bignell concedes that these enigmatic experi­ gations or economic necessity', dismissing the lot as 'disjecta' (D, 7 ).
    [Show full text]
  • 2010 TCG National Conference: IDEAS INTO ACTION
    July 29, 2010 For immediate release Contact: Chris Boneau/Susanne Tighe [email protected] 2010 TCG National Conference: IDEAS INTO ACTION Field pioneers meet a new generation of visionaries as TCG awards the “Spirit of Irreverence” to funders and artists alike. The 2010 TCG Award Recipients are: Regional Funder Award: the Joyce Foundation Visionary Leadership Award: Bill Rauch, Artistic Director, Oregon Shakespeare Festival Theatre Practitioner Award: Bernard Gersten, Executive Producer, Lincoln Center Theater National Funder Award: Susan Smith Blackburn Prize Peter Zeisler Memorial Award: Jack Reuler, Artistic Director, Mixed Blood Theatre Alan Schneider Director Award: Anne Kauffman, Director Theatre Communications Group (TCG), the national organization for professional not- for-profit theatre announces the winners of the 2010 TCG Awards for excellence. The TCG Awards, presented during TCG’s National Conference in Chicago this past June, exist to salute extraordinary dedication to the American theatre community, the recipients of this honor are nominated by their peers and selected by TCG’s Board of Directors. Since 2001, TCG’s member theatres have been asked each year to nominate one person or organization for each of the five prestigious awards. On stage at the Palmer House Hilton’s Red Lacquer Room, TCG recognized a Regional Funder, a National Funder and recipients of the Peter Zeisler Memorial Award, the Alan Schneider Director Award and the Visionary Leadership Award with “Spirit of Irreverence” statues designed by Ralph Lee. “It
    [Show full text]
  • Staging Beckett at the Margins Anna Mcmullan and David Pattie
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Central Archive at the University of Reading Introduction: Staging Beckett at the Margins Anna McMullan and David Pattie The Beckett community of scholars and theatre practitioners is a truly global one: for decades, Beckett’s plays have been produced across the world in major metropolitan centres from New York to Tokyo and in regional theatres from Birmingham to Bengal. Individual accounts of those productions have been published in journals1 and edited volumes, and The International Reception of Samuel Beckett (2009) edited by Mark Nixon and Matthew Feldman includes reception histories of Beckett’s theatre in particular cultural contexts, though it has a broader focus on Beckett’s work in general and its shifting cultural and academic reception. Beckett’s own directorial decisions or his collaborations with directors such as Roger Blin or Alan Schneider in Paris, New York, Berlin or London have been documented and analysed.2 This volume turns its attention both to the margins of some of those capital centres, and to lesser known production contexts, such as Romania, Turkey and Korea, for example, which have not been addressed in any detail in Beckett criticism. In several cases, relatively recent productions are discussed here, updating previous accounts of production histories in, for example, Poland or Japan. This special issue of Samuel Beckett Today / Aujourd’hui on ‘Staging Beckett at the Margins’ arose out of a United Kingdom Arts and Humanities
    [Show full text]
  • 23Rd July to 3Rd August 2015
    23RD JULY TO 3RD AUGUST 2015 2015 Lughnasa_advert.qxp_Layout 1 01/07/2015 10:33 Page 1 Lughnasa_advert.qxp_Layout 1 01/07/2015 10:33 Page 1 Lughnasa_advert.qxp_Layout 1 01/07/2015 10:33 Page 1 Ireland’s first annual cross-border arts event Donegal, Welcome to Friel Country (Aug 20-26 ROI) Belfast, Here I Come! (Aug 26-31 NI) COMING SOON PRINCIPAL FUNDER Ireland’s first annual cross-border arts festival IDonegal,reland’s Welcome first ann toua Friell cro Countryss-borde (Augr art s20-26 even ROI)t Donegal, Welcome to Friel Country (Aug 20-26 ROI) Ireland’s first annual cross-border arts event Belfast, Here I Come! (Aug 27-31 NI) Donegal, Welcome to Friel Country (Aug 20-26 ROI) B elfast, Here I Come! (Aug 26-31 NI) Belfast, Here I Come! (Aug 26-31 NI) A new Happy Days EIBF BioFestival www.lughnasainternationalfrielfestival.com Front Cover Illustration: Samuel Beckett by George Tabori. Kind permission of The Berliner Ensemble DOS A DEUX 2ND ACT (FRANCE) CONTENTS starting from page IRISH PREMIER Location: HIG HArdhowenLIGHTS Theatre Krapp’s Last Tape (1958), a one act play6 Date: Wed 6. August & originally titled the ‘Magee Monologue’, was Thu 7. August inspired by the Northern Irish actor Patrick Time: 8.00pm Magee whose voice and ‘banana walk’ THEATRE Beckett admired. Considered by many as14 Price: £18 / £16 Beckett’s most ‘perfect’ play, the 69 year Duration: ca. 75mins old Krapp listens and interjects with his UK & IRELAND PREMIERE taped 39 year old self, tenderly and scoffing. MUSIC 26 The play recalls Krapp’s early love, some Krapp - Klaus Maria Brandauer Director - Peter Stein think modeled on Beckett’s early love of his cousin Peggy Sinclair whom he spent time WAT - WRITER & ARTISTS TALKS 30 In German language with in Kassel, Germany in 1928.* The play’s with EnglishREA surtitlesDINGS 15 title intimates that this will also be the last tape Krapp will record.
    [Show full text]
  • Lary-Opitz CV -2021
    Lary Opitz E-mail: [email protected] Janet Kinghorn Bernard Theatre, Room 237 (518) 580-5432 Skidmore College, Saratoga Springs, NY 12866 https://academics.skidmore.edu/blogs/laryopitz/ Current and Recent Positions: Professor, Skidmore College Department of Theatre 2001-2021 Artistic Director, Saratoga Shakespeare Company 2012-2019 Chair of the Skidmore College Dept. of Theater (most recent term) 2006-2016 Council Member, Albany Liaison, Actors’ Equity Association 2012-2013 Education: Bachelor of Arts in Theatre and Studio Art, 1970 Queens College, City University of New York The Studio and Forum of Stage Design, New York City Certificate of Distinction awarded 1980 Professional Affiliation: United Scenic Artists, IATSE Local Union #829, NYC Actors Equity Association (Principal Actor) Dramatists Guild Stage Directors and Choreographers Society Shakespeare Theatre Association Literary Managers and Dramagurgs of the Americas Previous Experience in Higher Education: Skidmore College Associate Professor 1989-2001 Assistant Professor 1980-1988 Instructor 1978-1980 Lecturer and Technical Director 1974-1978 Theatre Department Chair 1991-1994 Theatre Department Chair 1988-1989 Director of The Shakespeare Programme (Skidmore College) 1994-2006 Queens College Department of Theatre (CUNY) 1973-1974 Associate Technical Director Columbia University, NYC – Instructor, designer 1970-1972 Teachers College Theatre and Dance, Graduate Departments Lary Opitz CV Page 1 Directing: Julius Caesar (Skidmore Theater) 2018 Love Letters (Saratoga Shakespeare Company)
    [Show full text]
  • REILLY, JOHN, 1939-2013. John Reilly Samuel Beckett Audiovisual Material, Circa 1965-1993
    REILLY, JOHN, 1939-2013. John Reilly Samuel Beckett audiovisual material, circa 1965-1993. Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Collection Stored Off-Site All or portions of this collection are housed off-site. Materials can still be requested but researchers should expect a delay of up to two business days for retrieval. Descriptive Summary Creator: Reilly, John, 1939-2013. Title: John Reilly Samuel Beckett audiovisual material, circa 1965-1993. Call Number: Manuscript Collection No. 1336 Extent: 2 linear feet (2 boxes), AV Masters: 23 linear feet (24 boxes) Abstract: Audiovisual materials created by John Reilly for his documentaries Waiting for Beckett (1994) and Peephole Art-Beckett For Television (1994). Language: Some materials in English and French. Administrative Information Restrictions on Access Collection stored off-site. Researchers must contact the Rose Library in advance to access this collection. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source gift, 2015 Citation [after identification of item(s)], John Reilly Samuel Beckett audiovisual material, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. John Reilly Samuel Beckett audiovisual material, circa 1965-1993. Manuscript Collection No. 1336 Processing Unarranged collection, described at the file level by Laura Starratt, 2015. This finding aid may include language that is offensive or harmful.
    [Show full text]