metatheatre and beckett
This book examines Samuel Beckett's masterpieces, Waiting for Godot and Endgame, in the light of metatheatre's concept. The main concern of this work concentrates on the fourfold elements of plot, characterization, language and time that break with the conventional principles of theatre in order to promote a new view of dramatic form which Lionel Able coins as metatheatre. Beckett subverts the logical movement of plot and turns it into a circular one in which endings and beginnings are the same. Characterization no longer reveals the inner life of the character because Beckett has created such self-conscious metatheatre in which characters are aware of their own theatricality. Moreover,Beckett challenges the common function of language as a means of communication in order to get beyond the limitations of language. The concept of time in Beckett shows his radical departure from the familiar techniques of theatre. In Waiting for Godot and Endgame, Beckett tries to stop the time by making the passage of time too slow to be felt at all.
Conversations with Samuel Beckett and Bram Van Velde
It is hard to escape the portrayal of what 20th century life might have been like for a penitent living in one of Ireland’s Magdalen Laundries. With its saturation in contemporary pop-culture, the morality of these Irish Institutions has been called into question through blockbuster films and best selling books. However, some believe that the many public representations of the Magdalen Laundries fail to tell the whole story. As tension surrounding Magdalen Laundries, as well as Church and State involvement in them, has continuously grown over the last couple of decades, many citizens of Ireland and of the world have began demanding to know the realities behind the phenomenon. In order to help elucidate the details of the controversy, and to begin moving forward in the pursuit of truth, this book carefully reviews and explicates some of both the history and the literature surrounding Ireland’s Magdalen Laundries. Specifically investigated within this document are the writings of three individuals, namely Kate O’Brien, Samuel Beckett, and Patricia Burke Brogan.
The letters written by Samuel Beckett between 1929 and 1940 provide a vivid and personal view of Western Europe in the 1930s, and mark the gradual emergence of Beckett's unique voice and sensibility. The Cambridge University Press edition of The Letters of Samuel Beckett offers for the first time a comprehensive range of letters of one of the greatest literary figures of the twentieth century. Selected for their bearing on his work from over 15,000 extant letters, the letters published in this four-volume edition encompass sixty years of Beckett's writing life (1929-1989), and include letters to friends, painters and musicians, as well as to students, publishers, translators, and colleagues in the world of literature and theater. For anyone interested in twentieth-century literature and theater this edition is essential reading, offering not only a record of Beckett's achievements but a powerful literary experience in itself.
For Alan Schneider, directing Endgame, Samuel Beckett lays out the play's philosophy, then adds: "Don't mention any of this to your actors!" He claimed he couldn't talk about his work, but Beckett proves remarkably forthcoming in these pages, which document the thirty-year working relationship between the playwright and his principal producer in the United States. The correspondence between Beckett and Schneider offers an unparalleled picture of the art and craft of theater in the hands of two masters. It is also an endlessly enlightening look into the playwright's ideas and methods, his remarks a virtual crib sheet for his brilliant, eccentric plays. Alan Schneider premiered five of Beckett's plays in the United States, including Waiting for Godot, Krapp's Last Tape,and Endgame, and directed a number of revivals. Preparing for each new production, the two wrote extensive letters-about intended tone, conception of characters, irony and verbal echoes, staging details for scenes, delivery of individual lines. From such details a remarkable sense of the playwright's vision emerges, as well as a feel for the director's task. Of Godot, Beckett wrote to Schneider, "I feel my monster is in safe keeping." His confidence in the director, and Schneider's persistent probing for a surer understanding of each play, have produced a marvelous resource: a detailed map of Beckett's work in conception and in production. The correspondence starts in December 1955, shortly after their first meeting, and continues to Schneider's accidental death in March 1984 (when crossing a street to mail a letter to Beckett). The 500 letters capture the world of theater as well as the personalities of their authors. Maurice Harmon's thorough notes provide a helpful guide to people and events mentioned throughout.
The World of Samuel Beckett
The World of Samuel Beckett
A Companion to Samuel Beckett
The Review of Contemporary Fiction – Samuel Beckett 7–2
Zero?s Neighbour is Hélène Cixous?s tribute to the minimalist genius of the artist in exile who courted nothingness in his writing like nobody else: Samuel Beckett. In this unabashedly personal odyssey through a sizeable range of his novels, plays and poems, Cixous celebrates Beckett’s linguistic flair and the poignant, powerful thrust of his stylistic terseness, and passionately declares her love for his unrivalled expression of the meaningless ‘precious little’ of life, its unfathomable banality ending in chaos and death. Poised between a critical essay and a textual performance across two languages adapting Beckett?s own literary vein, this book will appeal to scholars, critics and creative writers as well as students of the ‘grey self–Sam’. Its allusive intertextual insights will also prove to be of critical relevance to readers of Dante and Proust, among other literary figures, as much as to those appreciative of Cixous’s own inimitable genius for dissecting the quintessence of the life and works of a ‘neighbourly’ artist.
Our need to understand is so great that we find it impossible to regard Beckett’s plays other than in terms of metaphor and black humour. The great wonder is how Beckett’s plays, with their absolute linguistic precision, could be translated at all. Miraculously it seems the translations are not merely satisfactory; it is as if this were the only possible language for the plays. The simplicity has obviously something to do with it: short sentences, simple ideas. But such simplicity has been very dearly bought and painfully wrought. We are reminded of the adage: to know that one does not know is the beginning of wisdom. This book focuses on Beckett’s use and translation of metaphor and it is meant to prove that Beckett’s bilingualism helped him in almost perfectly rendering his own plays both in English and French.
Coetzee explores the work of twentieth century German literature's greatest writers, an essay on Graham Greene's Brighton Rock and on the short fiction of Samuel Beckett. American literature is also strongly represented and Coetzee rounds off the collection with essays on three fellow Nobel laureates.
Princesses, princes, spells, and happily-ever-afters: this unique collection of classic Little Golden Book fairy tales has them all! The Twelve Dancing Princesses, The Wild Swans, and The Blue Book of Fairy Tales (featuring Rapunzel, Beauty and the Beast, and Toads and Diamonds), come together with gorgeous art by Gordon Laite and Sheilah Beckett. Glossy paper and a gold-foiled spine make this mini-treasury a perfect gift for fairy tale fans of all ages.