DOCSLIB.ORG

Brooks Quad Undergoes Renovations Fall Break

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Brooks Quad Undergoes Renovations Fall Break October 29, 2010 Volume 4 Issue 4 Published Since 2007 thethe Torch Torchthe brooks college newsletter Brooks Quad Undergoes Renovations “Have you ever walked through the archway into Katy the college, paused at the McDowall corner of the quad, looked Editor across its patchy grass and up the stark wall of concrete and brick on the far side, and wondered whether some- The Brooks College quad thing better, indeed some- recently underwent land- thing even beautiful, might scaping renovations. be possible in that place?” The renovations, which Faculty Master Dr. Douglas began Monday, Oct. 4, re- Henry said in an e-mail to sulted in a gravel path that the College. extends around the building The new design will offer sides of the quad. The path both beauty and functional- is lined with potted cherry ity, as the new plants and laurels, low-growing shrubs, benches appeal to the eye, flowering perennials and and the open area still al- photo by nathan fischer benches. lows for outdoor activities. Fall Break: The CU-Boulder Game they said. My dad and I joined in the Sally Ann cheers and left the stadium Moyer with smiles on our faces. Staff “That’s one of the best Writer games I’ve ever seen,” he told me. The game had literally “R-G-THREE! R-G- come down to the last 5 THREE!” The crowd of seconds. CU was poised to mostly alumni chanted at score a touchdown but the the close of the CU-Boulder pass was incomplete just as football game as Baylor the clock ran out. Baylor quarterback, Robert Griffin fans breathed a sigh of relief III, came off the field after and erupted in cheers. Baylor’s 31-25 win. Baylor had really come A few others wistfully back strong after the half. yearned for BUGWMB. Perhaps the team was riled “Where’s the band? We up by how Colorado came need someone to play ‘That Good Ole Baylor Line,’” SEE CU, PAGE 3 photo by sally ann moyer PAGE 2, THE TORCH, OCTOBER 29, 2010 Fright Night OCT. 28-30 Football @ Texas OCT. 30 Halloween OCT. 31 Football @ Oklahoma State NOV. 6 Football vs. Texas A&M NOV. 13 Acoustic Cafe NOV. 18 Football vs. Oklahoma NOV. 20 Torchnews events Thanksgiving Break NOV. 24-28 There’s one issue of The Torch left this semester. Don’t miss out on your chance to contribute! OV Upcoming Torch Deadline N . 23 Christmas on 5th Street DEC. 2 New issue of The Torch DEC. 3 Last Day of Class DEC. 3 Hey everyone! Happy Halloween! Editor’s Fall has always been my favorite time of year. It’s a mixture of the cooler weather note (which I know has disappeared on us these past couple of weeks), the falling leaves and the holidays that come along with it. Halloween and Thanksgiving have to be my top two holidays. My answer to that, however, may change around Christmas time. Katy Halloween is special because it’s a time for candy and costumes, and, of course, McDowall events like Treat Night, which Brooks always excels at. Thanksgiving, though, may top Editor Halloween this year. Those few days off from school and work will be cherished more than ever this semester. I suppose I’ll enjoy seeing my family too. ;) This issue was a tough one to put together. There was so much content to work with. So many events have happened recently and so many are coming up, and, more than that, there are so many stories to be told. Even though I write every day (news releases at work), the effort that many of our Torch contributors put into their work and the results they come out with top everything. I would like to give a huge thanks to everyone that helps me with The Torch! Without you guys this would be no fun at all, these pages would be very empty and our Torch meetings would be really, really sad. Wear your new Torch shirts proudly! You guys are the best! TorchStaff | handing out the torch since fall 2007 | Huy Bui staff writer Matthew Carrington staff writer Nathan Fischer photographer Anson Jablinski staff writer Sally Ann Moyer staff writer Nosse Ovienmhada staff writer Jennifer Tran staff writer Katy McDowall editor PAGE 3, THE TORCH, OCTOBER 29, 2010 Hello from the Governing Board! and good communication. We want to Here’s what we’ve been talking about get behind you, to see you succeed. If Governing Board lately... you have an idea, talk to us about it! Not surprisingly, so many of y’all Do it. Update have great ideas, even if you’re not in- Meet your Brooks Officers! volved in a committee or on the Gov- erning Board. We have been discussing how to support groups that want to President Emilie Moore Emilie start but aren’t themselves a commit- Moore tee. Some examples of this include our President very own Torch newsletter, the Brooks Vice President prayer team, and most recently, the Jennifer Tran Prexian Theatre Company. If you have a passion for something, you can make it happen in this com- Treasurer Chase Kanaly munity! All it takes is some initiative CU, CONTINUED FROM PAGE 1 their breath as he walked off and delib- fan told us that he had heard Baylor erated again. was favored by one point; my excite- back onto the field, behind a bison He returned. “The call stands.” ment increased. named Ralphie, the official live mascot Baylor fans had a little bit of fun We entered the on-campus stadi- of University of Colorado. mocking his stutter, as if he had been um—I have to admit, I was jealous— Ralphie charged onto the field at full reluctant to say something so favorable and suddenly found ourselves amidst speed with three rodeo guys flanking to Baylor. a numerous crowd of Buff fans. They her on each side. They ran her straight Getting to the game had been some- had an impressive stadium crowd with into a trailer and slammed the door im- thing of an ordeal. a student section all in gold, somewhat mediately. It was a little bit terrifying. After missing the $9 roundtrip Buf- akin the Baylor line. Their fan turn out While it was an exciting game over- fride bus to Boulder from the RTD sta- was obviously helped by the fact that it all, the second half really made the tion outside our apartment, my dad was their family weekend. game worth it. Baylor started off the and I resigned ourselves to navigating Folsom Stadium is actually very half with success at a two-point con- the car trip up to Boulder from Denver. pretty and has a lot of flagstone. It’s a version, leaping the score from 10-15 We were fearful of getting caught in good thing, too, because my dad and I to 18-15. traffic and then having to pay $20 to got the full tour: we had walked all the The sun had also gone down after park at the stadium; as late as we left, way down the wrong length of the sta- the second half and the concessions there might not even be any remaining dium. Then, we had to go around the had switched from lemonade to hot parking. other way and through the field house; chocolate. It was already only an hour before the visitor’s section was tucked away It was refreshing to actually be cold kick off and I received a warning text on the far left. at a football game. message from my mom. After navigating the maze of the sta- The fun of the game also included “54 minutes with traffic to folsom dium, I felt a little more like we were some humorous moments. stadium,” she said. Fortunately, the back in Waco because we did have a During the first quarter, CU played trip ended up taking less than a half considerable crowd of Baylor fans. I a self-promotional commercial. I’m hour. would rather be in not as great seats not sure what else it boasted, but one On my phone, I located a Park-n- and surrounded by all Baylor fans than claim in particular made the Baylor Ride in Boulder where we could get a on the 50-yard line in a sea of Colorado fans giggle. $4 roundtrip bus ride to the stadium. fans. At least we weren’t on the end The announcer proclaimed some- We did have to pay to park because zone. thing akin to, “With an elevation one our license plate was out of district, but Besides the new experience of and mile higher, no wonder many of our it was only $4—cheaper than parking out-of-state away game, the crowd was students become astronauts.” at the stadium itself and even cheaper also different from the student section Also, the referees who had previ- than if we had originally caught the where I’m used to spending games. ously not been calling in Baylor’s favor Buffride. There was a lot more white hair, but finally made us happy. I was excited for the game, but not also a lot more sitting down. I actually The referee walked out to the field enough of a diehard fan to expect an got asked to sit down during the third and began announcing the decision. automatic win. Colorado had beaten quarter. “The call,” he said, and then his mi- Georgia the previous weekend and Thankfully, even the older fans mus- crophone failed or he stopped speak- that made me frightened for how Bay- tered enough energy to stand at the ing.
Load more

Recommended publications
  • TV As the Convergence Catalyst, the Road to Quad-Play
    TV, the Telco way TV, the Telco way TV as the Convergence netgem.com netgem.com catalyst, the Road to netgem netgem Quad-Play TV, the Telco way TV, the Telco way netgem.com netgem.com netgem netgem TV, the Telco way TV, the Telco way Summary There is a lot of activity in advanced markets focussed on the roll out or promotion of TV services to support triple and quad-plays. Quad-playnet is gema term that.com has been around a while but actually netit gem.com is early days in this space - less than 5% of the global population receive quad-play services from a single provider. “The greatest change in corporate culture - and the way business is being conducted - may be Quad-play provision is growing fast. A lot of attention has been the accelerated growth of relationships based... focused on large acquisitions by Tier 1 Telcos. In reality, these on partnership.” Peter F. Drucker acquisitions are generally more about consolidation than delivering quad-plays.net Thisgem paper explains why for most Telcos looking atnet TV, gem acquisition or building a service from scratch will neither be a viable, nor the best route, to deliver a compelling TV service. Partnering is normally the best route to market. Given there are many different constituent parts to a TV service, Telcos need to think through how best to partner to launch a TV service and then run the TV service. Opting for a full managed service - (or ‘TV as a Service’) TV, the Telco way TV, the Telco way is the best route for many Telcos.
    [Show full text]
  • A High Street Renaissance
    Arts Council England A High Street Renaissance How arts and culture bring people and pride back to our high streets 5 August 2021 Credits Written and prepared by Jonathan Todd and Jay Rowe, BOP Consulting With thanks to Adam Buss (Derby QUAD), Victoria Pomery (Turner Contemporary), Gemma Thomas (Appetite), Annabel Turpin (ARC Stockton Arts Centre), Dylan Tozer and Edward Borlase (Theatre Royal Plymouth), and Patrick Fox (Heart of Glass) for assistance with case studies Data credits Polling data from Deltapoll; data on location of funded organisations from Arts Council England Image credits Front cover: Andrew Moore. Photo of DIY Dance Together. Part of Shop Front Festival 2018 in Coventry __ i Contents Figure 6 Cultural experiences on local high street or nearest town centre make Executive Summary .............................................................................. 1 local areas better places to live (% of respondents, all UK adults) ...................... 9 1. Culture: High Street Presence ......................................................... 2 Figure 7 Preferences for visiting local the high street or nearest town centre over coming years (% of respondents, all UK adults) ........................................ 10 2. High Street Footfall and Spend ........................................................ 3 Figure 8 Desire and expectations of local high streets or nearest town centre 3. Civic Pride ......................................................................................... 5 over coming years (% of respondents,
    [Show full text]
  • Samuel Beckett's Play, Quad: an Abstract Synthesis of the Theater
    HERTA SCHMID SAMUEL BECKETT'S PLAY, QUAD: AN ABSTRACT SYNTHESIS OF THE THEATER The little play Quad, first transmitted in Germany by Siiddeutscher Rundfunk Stuttgart in 1982 under the title Quadrat 1+2, is probably one of the most puzzling works written by Samuel Beckett. The play is subtitled "A piece for four players, light and percussion," without words, action or any clear generic charac- teristics. An inexperienced spectator would probably link the four players, who within four "series" repeat four times the same "course" through the lines of a square painted on the floor of the stage, with the children's game, "Ludo". The play might be char- acterized as the culmination of the author's minimal art. Among his plays it is the most abstract and the most remote from the theater. And yet it is a play for the theater telling us something about the very essence of theatrical art that has hardly been told anywhere else with such clarity. What does it convey to us? No more and no less than the quintessence of the theater, which is an art that demands from the spectator the perceptive faculty of all artistic genres at the same time-literature, music, painting, dance and architecture. Literature is required in the first instance, although it is a play without words. In order to decode the non-verbal message of the play, four methods of analysis seem appropriate. The first will be the historical approach, the second will be an analysis of the ele- ments, the third approach will examine the structure of dramatic dialogue, a structure, that in its abstract essence can be realized also by non-verbal means, and finally, I shall analyze the composition.
    [Show full text]
  • Tanglewood Brochure
    2020 SEASON AT-A-GLANCE In the 2020 Tanglewood season, BSO Music Director Andris Nelsons leads twelve BSO concerts including Act III of Wagner’s Tannhäuser (7/11) and three programs showcasing Paul Lewis in all five Beethoven piano concertos (7/17–19). Other highlights include: • a weekend-long celebration of the 100th anniversary of Isaac Stern’s birth, with performances by violinists Augustin Hadelich, Midori, Pamela Frank, and Joshua Bell (7/24–26) • the Tanglewood Festival Chorus’s 50th Anniversary celebrated with six BSO collaborations (7/10–11, 8/1–2, 8/22–23) • Keith Lockhart leads the Boston Pops in Star Wars: The Empire Strikes Back (8/21) and the annual John Williams’ Film Night, hosted by Mr. Williams (8/15) • Ozawa Hall appearances by the Mark Morris Dance Group (7/1 & 2), Meow Meow (7/8), Emerson String Quartet with Emanuel Ax (7/9), Paul Lewis (7/14), and more • Popular Artists concerts with Ringo Starr (6/19), Trey Anastasio (6/20), Judy Collins and Arlo Guthrie (6/21), and the return of Wait Wait, Don’t Tell Me! (8/27) The Tanglewood Music Center (TMC) is the Boston Symphony Orchestra’s summer academy for advanced musical study. The TMC offers an intensive schedule of study and performance for emerging professional instrumentalists, singers, conductors, and composers. Orchestra Concerts July 6, 13, 20, 28, August 10 & 16 Chamber Music Concerts Sundays, June 28–August 16 Vocal Concerts July 12, 16, 26, August 3 & 9 Prelude Concerts Saturdays, July 11–August 15 Festival of Contemporary Music August 6–10 TMC-BBC Radio 3 New Generation Artists Recital* Mondays, July 6–August 10 *Free recitals presented in association with BBC Radio 3 Special Events String Quartet MasterPass* June 21–28 Bach Cantatas June 28 Mark Morris Dance Group July 1 & 2 MasterPass* Wednesdays July 1, 8, 15, 22, August 8 & 12 Full Tilt* July 5 & 27 TLI-TMC OpenStudio* July 13, 14 & 24 *Presented in collaboration with TLI 2 2020 SEASON The Tanglewood Learning Institute (TLI) offers engaging programs for curious minds, year-round.
    [Show full text]
  • Collected Shorter Plays of Samuel Beckett Murphy
    Collected Shorter Plays Works by Samuel Beckett published by Grove Press Cas cando Mercier and Camier Collected Poems in Molloy English and French More Pricks Than Kicks The Collected Shorter Plays of Samuel Beckett Murphy Company Nohow On (Company, Seen Disjecta Said, Worstward Ho) Endgame Ill Ohio Impromptu Ends and Odds Ill Proust First Love and Other Stories Rockaby Happy Days Stories and Texts How It Is for Nothing I Can't Go On, I'll Go On Three Novels Krapp Last Tape Waiting for Godot The Lost Ones Watt s Malone Dies Worstward Ho Happy Days: Samuel Beckett's Production Notebooks, edited by James Knowlson Samuel Beckett: The Complete Short Prose, 1929-/989, edited and with an introduction and notes by S. E. Gontarski The Theatrical Notebooks of Samuel Beckett: Endgame, edited by S. E. Gontarski The Theatrical Notebooks of Samuel Beckett: Krapp's Last Tape, edited by James Knowlson The Theatrical Notebooks of Samuel Beckett: Waiting for Godot, edited by Dougald McMillan and James Knowlson COLLECTED SHORTER PLAYS SAMUEL BECKETT Grove Press New York Copyright© 1984 by Samuel Beckett All rights reserved. No part of this book may be reproduced,stored in a retrieval system, or transmitted in any form, by any means, including mechanical, electronic, photocopying,recording, or otherwise,without prior written permission of the publisher. Grove Press 841 Broadway New York, NY 10003 All That Fall © Samuel Beckett, 1957; Act Without Words I © Samuel Beckett, 1959; Act Without Words II© Samuel Beckett,1959; Krapp's Last 'Ihpe© Samuel Beckett,1958; Rough for Theatre I © Samuel Beckett, 1976; Rough for Theatre II© Samuel Beckett,1976; Embers © Samuel Beckett,1959; Rough for Radio I© Samuel Beckett,1976; Rough forRadio II© Samuel Beckett, 1976; Words and Music © Samuel Beckett,1962; Cascando© Samuel Beckett, 1963; Play © Samuel Beckett, 1963; Film © Samuel Beckett, 1967; The Old Tune, adapt.
    [Show full text]
  • The Performance of Beckett: an Essay for the Staging Beckett Website, 2015
    1 ROSEMARY POUNTNEY The Performance of Beckett: An essay for the Staging Beckett website, 2015 The performance of Beckett’s shorter plays for the theatre makes exceptional demands on the actor, audience, technicians and director alike. This lecture will discuss the stringency of Beckett’s requirements in these areas and consider to what extent the exacting nature of such demands may present problems for the continuing life of the plays, both today and in the future. To begin with the actor: Jack MacGowran described the camera narrowing steadily in on his face in Beckett’s television play Eh Joe, exposing his haunted eyes, as ‘the most gruelling 22 minutes I have ever had in my life’, and Brenda Bruce described ‘Beckett placing a metronome on the floor to keep me on the rhythm he wanted, which drove me into such a panic that I finally broke down’.1 Billie Whitelaw similarly remarked that, when rehearsing Not I Beckett told her that she had ‘paused for two dots instead of three’.2 Whitelaw also describes in her autobiography losing self-confidence unexpectedly when rehearsing Happy Days with Beckett and asking advice from Dame Peggy Ashcroft, who said: ‘He’s impossible. Throw him out’.3 Dame Peggy herself appeared uncomfortable in her early performances as Winnie (at the Old Vic London in 1975) though she had grown into the role by the time Happy Days transferred to the Lyttelton in 1976, as the National Theatre’s opening production.4 Albert Finney too appeared uneasy in Krapp’s Last Tape in 1973, lacking his usual mastery of a role.5 Contemplating such uncharacteristic discomfort from both actors one wondered whether, in trying to achieve what Beckett wanted, they had found themselves acting against their own theatrical instincts and had thus not fully integrated into their roles.
    [Show full text]
  • Beckett on Film (2001) Artists for the Extraordinary Interviews That They Gave to Me, Some of Whom Are Quoted Here
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Balaam, Annette C Title: Samuel Beckett in Virtual Reality General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Samuel Beckett in Virtual Reality. ANNETTE CAROLINE BALAAM. A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of PhD in the Faculty of Arts, Graduate School of Arts and Humanities, October 2019.
    [Show full text]
  • TAS QUAD Artera Review
    Equipment Report (see Robert E. Greene’s re- sleek but very severe, with view of the 2812 ESL in TAS no color contrasts to offset 262). When Mobile Fidelity monolithic black or silver or last year added an equipment the softening touch of sub- distribution and importing tly rounded edges to chassis branch to its familiar record- edges and corners. This new ings operation, MoFi Distri- severity is clearly intended to bution became the offcial mirror the single-mindedness importers of Quad products. of purpose and function, es- Longtime readers of mine pecially as regards the Artera will know that I’ve owned Play. some variant of Peter Walk- er’s ESL-63 for over a quar- The Artera Stereo ter century, the 2805s my This 140-watt per channel reference since 2008; and for amplifer is the latest refne- several years now I’ve owned ment of Quad’s innovative, a 99 Series preamplifer and patented, award-winning 909 current-dumping power “current dumping,” a circuit amplifer (see my review in that uniquely uses a feed-for- TAS 203). ward error-correction circuit Quad’s two latest electron- whereby a very high quality ics initiate a new line called but low-power Class A “Artera” and consist in a amplifer draws upon a high- linestage/DAC/CD player er-power Class AB ampli- and a two-channel power fer when a lot of power is amplifer, which are named, needed. According to Quad’s respectively, “Play” and “Ste- thumbnail description, “The Quad Artera Play reo.” This elliptical laconism former emits a signal to com- conceals a statement of new pensate for errors between Linestage/DAC/CD direction, or at least intent, the input signal and the sig- for the company’s electron- nal feed to the loudspeak- Player and Stereo ics: requisite functionality ers, while the latter controls allied to simplicity of oper- the loudspeakers at all times Power Amplifer ation with an obvious nod and provides the current to to “lifestyle” thinking.
    [Show full text]
  • Assessment of the Nuclear Power Industry
    Assessment of the Nuclear Power Industry – Final Report June 2013 Navigant Consulting, Inc. For EISPC and NARUC Funded by the U.S. Department of Energy Assessment of the Nuclear Power Industry Study 5: Assessment of the Location of New Nuclear and Uprating Existing Nuclear Whitepaper 5: Consideration of other Incentives/Disincentives for Development of Nuclear Power prepared for Eastern Interconnection States’ Planning Council and National Association of Regulatory Utility Commissioners prepared by Navigant Consulting, Inc. Navigant Consulting, Inc. 77 South Bedford Street, Suite 400 Burlington, MA 01803 781.270.0101 www.navigant.com Table of Contents Forward ....................................................................................................................................... ix Basic Nuclear Power Concepts ................................................................................................ 1 Executive Summary ................................................................................................................... 5 1. BACKGROUND .................................................................................................................... 9 1.1 Early Years – (1946-1957) ........................................................................................................................ 9 1.1.1 Shippingport ............................................................................................................................. 11 1.1.2 Power Reactor Demonstration Program ..............................................................................
    [Show full text]
  • Vol. 85 Wednesday, No. 88 May 6, 2020 Pages 26835–27104
    Vol. 85 Wednesday, No. 88 May 6, 2020 Pages 26835–27104 OFFICE OF THE FEDERAL REGISTER VerDate Sep 11 2014 20:23 May 05, 2020 Jkt 250001 PO 00000 Frm 00001 Fmt 4710 Sfmt 4710 E:\FR\FM\06MYWS.LOC 06MYWS II Federal Register / Vol. 85, No. 88 / Wednesday, May 6, 2020 The FEDERAL REGISTER (ISSN 0097–6326) is published daily, SUBSCRIPTIONS AND COPIES Monday through Friday, except official holidays, by the Office PUBLIC of the Federal Register, National Archives and Records Administration, under the Federal Register Act (44 U.S.C. Ch. 15) Subscriptions: and the regulations of the Administrative Committee of the Federal Paper or fiche 202–512–1800 Register (1 CFR Ch. I). The Superintendent of Documents, U.S. Assistance with public subscriptions 202–512–1806 Government Publishing Office, is the exclusive distributor of the official edition. Periodicals postage is paid at Washington, DC. General online information 202–512–1530; 1–888–293–6498 Single copies/back copies: The FEDERAL REGISTER provides a uniform system for making available to the public regulations and legal notices issued by Paper or fiche 202–512–1800 Federal agencies. These include Presidential proclamations and Assistance with public single copies 1–866–512–1800 Executive Orders, Federal agency documents having general (Toll-Free) applicability and legal effect, documents required to be published FEDERAL AGENCIES by act of Congress, and other Federal agency documents of public Subscriptions: interest. Assistance with Federal agency subscriptions: Documents are on file for public inspection in the Office of the Federal Register the day before they are published, unless the Email [email protected] issuing agency requests earlier filing.
    [Show full text]
  • (1977), ... but the Clouds ... (1977), Quad (1980/81), Nacht Und Träume (1983), and What Where (1985) Is Characterized by the Technique of Reduction
    QUADRAT 1 + 2 AS A TELEVISION PLAY The se ries of Beckett's television-plays (Eh Joe (1966), Not I (produced by BBC2 and SDR, Süddeutscher Rundfunk, in 1977), Ghost Trio (1977), ... but the clouds ... (1977), Quad (1980/81), Nacht und Träume (1983), and What Where (1985) is characterized by the technique of reduction. In What Where (the 'stage play') the characters move a Httle bit when entering or leaving the stage, in Was Wo as a TV play, however, there is no longer any movement. The characters do not enter the stage, they are merely illuminated, more accurately, only their faces are illuminated. What Where was first performed at Graz in 1983 and broadcast as a TV play, entitled Was Wo, by SDR in 1985 under the direction of Samuel Beckett and Walter Asmus. In Not I nothing but a mouth, which speaks, can be seen. The earlier work Play, which already is characterized by reduction, has been further reduced to one person, one face, one mouth. The character named "Mouth" becomes in the TV play literally a "mouth," that is, an illuminated section of a face in the dark. This transformance of a character on the stage into a pure image reflects the difference between stage play and 'motion picture,' or rather stage play and television screen. What Where is similar to Not I in the sense that it is a motionless 'moving picture' showing nothing but illuminated faces wh ich speak. In Quad, however, moving dominates and language is reduced to nothing: the characters move, but do not speak.
    [Show full text]
  • Beckett and Nothing
    7 Into the void: Beckett’s television plays and the idea of broadcasting Jonathan Bignell In the context of a tradition of critical discussion that characterises Beckett’s plays for television (and his other work) as attempts to engage with nothingness, absence and death, this chapter argues that the television plays are critical explorations of the problem- atics of presence and absence inherent in the conceptions and histories of broadcasting.1 Television as a medium and a physi- cal apparatus sets up spatial and temporal relationships between programmes and their viewers, relationships with which Beckett’s television plays are in dialogue. Broadcasting necessarily entails an incomplete encounter between viewer and programme, and a certain risk that the audience will not engage with what is offered to it. Here too, Beckett’s television plays stage and explore the potentials of broadcasting and its attendant possibilities of failure. By taking account of the medium’s historical and cultural roles, Beckett’s television plays can be shown to engage with debates about the operation, social function and aesthetic possibilities of broadcasting. Television and temporality There is a long-standing assumption that the television medium’s ‘essence’ is determined by its possibility to relay events and per- formances live, or to recreate an experience for the viewer that simulates a live broadcast. This essentialism is perpetuated by television’s customary broadcast of news, sports events or national occasions at or close to the time of their occurrence, and the con- comitant aim for the medium to connect with the lived temporal- ity of its audience.
    [Show full text]