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Beckett on Film: a Dialogue Amongst Cinema, Television and Theatre∗

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Beckett on Film: a Dialogue Amongst Cinema, Television and Theatre∗ Beckett on Film: A dialogue amongst cinema, television and theatre∗ Gabriela Borges PUC-São Paulo / CAPES/MEC Brazil CICCOMA / FCHS / University of Algarve Email: [email protected] or [email protected] Índice vity to create new visual metaphors from the theatre language. 1 The Project1 The project raised some very interesting 2 Challenges of Production3 questions, which I will discuss in this pa- 3 The Films4 per. Firstly, these audiovisual products bring 4 Bibliography6 a new understanding of Beckett’s works to new generations as they become more popu- Abstract lar and accessible. These audiovisual works also contribute to enlarge the critical scope The Beckett on Film project was a co- of Beckett’s oeuvre, as they highlight the use production involving the Irish public televi- of technology to represent memory and time, sion channel RTÉ, Channel 4, Irish Film Bo- important themes both for Beckett and film ard and the production company Blue Angel studies. for the adaptation to the cinema and poste- Secondly, I will point out the importance rior broadcasting on television of all 19 plays of cinema and television convergence in the written by Samuel Beckett. Many renow- beginning of the 21st century and the crea- ned cinema directors, such as Anthony Min- tion of a new audiovisual space that promo- guella, Conor McPherson, Neil Jordan, Enda tes dialogue amongst various media and sti- Hughes, Atom Egoyan, Damien O’Donnell mulates the development of European audio- amongst others, were invited to propose their visual industry. adaptation of a play. However, the Beckett Estate imposed some conditions to the adap- tations, which challenged directors’ creati- 1 The Project ∗Texto publicado nos Anais do I Congresso In- The Beckett on Film project, premiered in ternacional de Cinema Europeu Contemporâneo CI- 2001, consists of the intersemiotic transla- CEC, Universidade Pompeu Fabra, Barcelona, 2005. tion to cinema and posterior broadcasting on television of all 19 plays written by Samuel 2 Gabriela Borges Beckett. They were first produced in 1991 by However, Becket was very interested in the Gate Theatre Dublin for the Beckett Fes- the audiovisual media, in 1938 he even wrote tival and were exhibited along with Beckett’s a letter to the Russian master Sergei Eisens- radio plays. Due to the great success on the tein requesting to study cinema with him stages of London, New York and Melbourne, but never got a reply. He wrote and di- Michael Colgan, the Gate Theatre artistic di- rected many audiovisual works, in 1963 he rector, and Alan Moloney from Blue Angel wrote the script of his only film entitled Film, Films, proposed the realization of the pro- which was performed by Buster Keaton and ject to the Irish public radio and television directed by Alan Schneider. He also wrote network, RTÈ to be produced in partnership radio and television plays for the British Bro- with Channel 4 and The Irish Film Board. adcasting Corporation (BBC) and directed This project raises a controversial discus- them for the German television Süddeust- sion in relation to both Beckett’s artistic cre- cher Rundfunk. ation and the critic of his oeuvres. Bec- Many authors argue that the plays crea- kett only allowed very few adaptations of his tive processes were influenced by the tele- works to different media, as he thought that plays written and produced in the same pe- the medium is so important for the perfor- riod, in the same manner that the television mance that the adaptation would not express plays creative processes were influenced by its essence. In 1963, the French television Film. When working on television, Beckett RTF adapted the radio play All That Fall, had the possibility to enhance his minimalist translated by Beckett himself into French vision and explore the fragmentation of cha- with the title Tous Ceux Qui Tombent, and racters’ bodies in a way that would not be directed by Robert Pinger. Beckett was very possible in theatre, but at the same time he unsatisfied with the production because “it innovated the theatrical language from what was a play for voices and not bodies”, and he learned with his experimentations on tele- it would not work in a medium that shows vision. the characters. For Beckett, “to act is to kill Considering that all 19 plays were written it”1. After watching the adaptation, Beckett2 in English and French over 31 years of work, wrote to his Curtis Brown’s agent, John Bar- it is possible to perceive the development of ber, saying that he allowed the French tele- a poetics, which embraces what Beckett con- vision to adapt All That Fall in a weak mo- sidered to be both aspects of the cancer of ment and it was a disaster. Then, when Ing- time: habit and its subsequent repetition, and mar Bergman asked for permission to adapt memory related to human ageing and morta- the radio plays All That Fall and Embers to lity. It is presented through a constant pro- cinema, Beckett refused. cess towards minimalization and abstraction, with regards to stage setting, lighting, cha- 1 KNOWLSON, J. Damned to fame. The life of Samuel Beckett. Londres: Bloomsbury Publishing, racters performance and narrative. 1997, p. 505. The stage settings present only a few props 2 KNOWLSON, J. Damned to fame. The life of and do not represent a defined space for Samuel Beckett. Londres: Bloomsbury Publishing, the action in a realistic or naturalistic sense. 1997, p. 779. The stage setting of Happy Days (written in www.bocc.ubi.pt Beckett on Film 3 1961), for instance, presents the protagonist had total freedom to choose the casting, as Winnie buried in a mount of sand up to her the producers hoped they would hire renow- waist in the first act and up to her neck in the ned actors and actresses with whom they had second one. Most of the time, the actors’ per- worked before in order to add credibility and formances are emphasized through the use of prestige to the project. spotlights surrounded by darkness. The cha- Colgan3 reports that a “bible” was writ- racters of Play (written in 1962-3) are positi- ten for the directors with categorical instruc- oned inside urns and only their heads can be tions: cuts in the text and gender definition seen focused on the spotlights. In Rockaby were not allowed. For instance, if “beach” (written in 1980), there is only a rock chair, were written on the script, there had to be on which W sits, and in Footfalls (written in a beach, as adaptations or scenes inspired 1975), just the phantasmagoric figure of May in other authors, or even in Beckett’s other is lit while she walks from one side of the texts, would not be accepted. The challenge stage to the other. was to adapt an unaltered theatrical text to The narratives of the plays are not based the screen, using only audiovisual medium on the Aristotelian unity of action, with be- resources, that is, camera movements, fra- ginning, middle and end and they are cyclic ming, editing, sound effects and lighting. as, for instance, in Play. In the same man- The translation of a text from one sign ner, the dialogues do not correspond to acti- system to another may preserve its main ons such as it appears in Waiting for Godot characteristics, which Santiago4 nominates (written in 1953) and the characters present as the “prison-form” in literature. Howe- themselves immobilized. In fact, the whole ver, the translated text has to be an aesthe- idea of drama as a mimetic representation of tic text independent from the original. In the reality is questioned when the imitation of an case of theatre, not only texts with monolo- action becomes the proper theme of the play. gues and dialogues are part of this “prison- Therefore, the adaptation of Beckett’s form” but also scenes instructions, which plays by renowned cinema directors embo- build the action visualized by the author. Ra- dies the dialogue between theatre, cinema mos5 points out that instructions and dia- and television, challenges directors’ creati- logues have equal importance in Beckett’s vity and presents a new understanding of plays composition and if they were not res- Beckett’s poetics. pected, the performance and the meaning of the play could be jeopardized. 2 Challenges of Production 3 COLGAN, M. Beckett on film website. [En linea]. Dublin: Blue Angels Films, 2001. The Beckett Estate, which holds the copy- <http://www.beckettonfilm.com> [Consult: 25th right of Beckett’s works, imposed many con- April 2005] ditions to the plays footage. The criteria 4 JOHNSON, R. Literatura e cinema. Macu- to select directors requested previous expe- naíma: do modernismo na literatura ao cinema novo. São Paulo: T.A. Queiroz, Editor, 1982, p. 10. rience as writers and they would have to 5 RAMOS, L. F. O parto de Godot e outras ence- agree not to change the author’s instructions nações imaginárias: a rubrica como poética da cena. of the performances. On the other hand, they São Paulo: HucitecnFapesp, 1999, p. 77. www.bocc.ubi.pt 4 Gabriela Borges During the performance, the written thea- metaphors through the use of camera move- trical text becomes oral and corporal com- ments, lighting, sound effects and editing. It munication, in which the presence of the seems that directors’ creativity was one of body is indispensable to the space of fiction6. the main points of the project’s success, as This space of fiction built by the actor is de- some plays suited very well the specificities nominated theatricality and it presents itself of the audiovisual language, especially, con- in a new and different form in each perfor- sidering the use of both camera and sound mance.
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