Report on AHRC One-Day Symposium - supported by HRC September 18
... research. Angela Woods, a philosopher based at Durham’s Centre for Medical Humanities, later said of the workshop on her blog: “I’m not sure that I know what an ‘average’ medical humanities theatre workshop might be, but I can say with certainty that this was truly exceptional. […] By inhabiting Bec ...
... research. Angela Woods, a philosopher based at Durham’s Centre for Medical Humanities, later said of the workshop on her blog: “I’m not sure that I know what an ‘average’ medical humanities theatre workshop might be, but I can say with certainty that this was truly exceptional. […] By inhabiting Bec ...
Lisa Dwan in Beckett Trilogy: Not I / Footfalls / Rockaby
... Lisa Dwan said, “This is late Beckett. He distilled and distilled and pared away all the fat and you are left with something very potent. In these plays, I play womb to tomb, a country, a continent; I travel vast differences of age. I think he gets closer writing a sort of truth about the human ...
... Lisa Dwan said, “This is late Beckett. He distilled and distilled and pared away all the fat and you are left with something very potent. In these plays, I play womb to tomb, a country, a continent; I travel vast differences of age. I think he gets closer writing a sort of truth about the human ...
Review: Three Beckett Plays at the Harold Clurman Theatre, New
... often the victim is the author himself; there are many “in” theatrical jokes. The director’s assistant coolly carries out her instructions, and it matters little if we are in a concentration camp or a film studio: all humane considerations are ruled out to achieve the ultimate work of art. The twop ...
... often the victim is the author himself; there are many “in” theatrical jokes. The director’s assistant coolly carries out her instructions, and it matters little if we are in a concentration camp or a film studio: all humane considerations are ruled out to achieve the ultimate work of art. The twop ...
Appendix - Circus Maximus
... exploration into the world touched by "The Zone", not another description of the events told by the book or the movie by Andrei Tarkovsky. The original story tells of a mysterious Zone in Canada where enigmatic artifacts can be found, left there like picnic rubbish on an alien stopping place. In 200 ...
... exploration into the world touched by "The Zone", not another description of the events told by the book or the movie by Andrei Tarkovsky. The original story tells of a mysterious Zone in Canada where enigmatic artifacts can be found, left there like picnic rubbish on an alien stopping place. In 200 ...
Modern playwrights and Samuel Beckett`s Trace of Lost Self in Drama
... Feeling like an outsider in his own life, Beckett was haunted by a feeling of an absence of identity and the sense of alienation in his own world. He was captivated by the notion of never having been born. Right from the beginning, as evident in his drama, he saw birth and death as parts of a single ...
... Feeling like an outsider in his own life, Beckett was haunted by a feeling of an absence of identity and the sense of alienation in his own world. He was captivated by the notion of never having been born. Right from the beginning, as evident in his drama, he saw birth and death as parts of a single ...
Theatre and Language: Samuel Beckett, `Waiting for Godot` Transcript
... become blind, and Lucky is dumb. After they have left the boy arrives and delivers a similar message about Godot’s likely appearance. Vladimir and Estragon discuss suicide. For want of a rope they postpone their suicides until the following day, ‘Unless Godot comes’, Vladimir adds. And Estragon then ...
... become blind, and Lucky is dumb. After they have left the boy arrives and delivers a similar message about Godot’s likely appearance. Vladimir and Estragon discuss suicide. For want of a rope they postpone their suicides until the following day, ‘Unless Godot comes’, Vladimir adds. And Estragon then ...
Theatre and Language: Samuel Beckett, `Waiting for Godot` Transcript
... become blind, and Lucky is dumb. After they have left the boy arrives and delivers a similar message about Godot’s likely appearance. Vladimir and Estragon discuss suicide. For want of a rope they postpone their suicides until the following day, ‘Unless Godot comes’, Vladimir adds. And Estragon then ...
... become blind, and Lucky is dumb. After they have left the boy arrives and delivers a similar message about Godot’s likely appearance. Vladimir and Estragon discuss suicide. For want of a rope they postpone their suicides until the following day, ‘Unless Godot comes’, Vladimir adds. And Estragon then ...
full text pdf
... essentials. This is the well-known principle of Michelangelo, whose art Beckett admired. Michelangelo believed that the stone itself already had its form and shape locked within it and the work of the sculptor was to set that form free; from this perspective, the artist is seen not as a multiplier b ...
... essentials. This is the well-known principle of Michelangelo, whose art Beckett admired. Michelangelo believed that the stone itself already had its form and shape locked within it and the work of the sculptor was to set that form free; from this perspective, the artist is seen not as a multiplier b ...
Translating Theatre Language of Beckett`s Texts
... spiritual balance. It can be said that the more Beckett’s characters become asymmetrical, the more the symmetry in the drama itself takes on a unique and even mystical quality. In other words, Beckett’s use of symmetry in constructing the framework of his drama serves to counterpoint its chaotic con ...
... spiritual balance. It can be said that the more Beckett’s characters become asymmetrical, the more the symmetry in the drama itself takes on a unique and even mystical quality. In other words, Beckett’s use of symmetry in constructing the framework of his drama serves to counterpoint its chaotic con ...
Samuel Beckett`s scenographic collaboration with Jocelyn Herbert
... for the French language premiere of Fin de partie in 1957 at the Royal Court: “I felt very strongly in London how completely wrong and damaging to the play the Noël set is” (Harmon, 1998: 52). He also disliked Peter Hall’s set for the London premiere of Waiting for Godot in 1955, describing it as “ ...
... for the French language premiere of Fin de partie in 1957 at the Royal Court: “I felt very strongly in London how completely wrong and damaging to the play the Noël set is” (Harmon, 1998: 52). He also disliked Peter Hall’s set for the London premiere of Waiting for Godot in 1955, describing it as “ ...
137 Beckett`s Metatheatrical Philosophy: A postmodern Tendency
... 2. The Origin of Metatheatre The word 'metatheatre' was used for the first time in 1963 by Lionel Abel who introduces a new way of looking at drama. Abel believes that "metatheatre at the very least, has added a word to the language with which we talk of theatre" (Abel, 2003, v). According to Oxford ...
... 2. The Origin of Metatheatre The word 'metatheatre' was used for the first time in 1963 by Lionel Abel who introduces a new way of looking at drama. Abel believes that "metatheatre at the very least, has added a word to the language with which we talk of theatre" (Abel, 2003, v). According to Oxford ...
fragmeNTs - Theatre for a New Audience
... as “a Beckett of the East,” explained, “Beckett’s texts come out of the experience of a history-less world. For his characters there was no history and there won’t be any.”1 This thought is exemplified by Godot, Beckett’s most celebrated character, who never shows up to relieve the play’s expectant ...
... as “a Beckett of the East,” explained, “Beckett’s texts come out of the experience of a history-less world. For his characters there was no history and there won’t be any.”1 This thought is exemplified by Godot, Beckett’s most celebrated character, who never shows up to relieve the play’s expectant ...
PDF of this essay
... ideas that matter. We don't deal with facts, but with values; and as one might expect, these are selfjustifying. Prizing intellect, we promote the characteristic qualities of abstraction, complexity, subjectivism. The big names in modern drama are Bert Brecht and Sam Beckett. Why ? or rather Who say ...
... ideas that matter. We don't deal with facts, but with values; and as one might expect, these are selfjustifying. Prizing intellect, we promote the characteristic qualities of abstraction, complexity, subjectivism. The big names in modern drama are Bert Brecht and Sam Beckett. Why ? or rather Who say ...
Fragments - Theatre for a New Audience
... his “absolute mastery” of the “chloroformed world.”5 Far from being particular and finite, inhabitants of Beckett’s dramatic works represent the human condition in its entirety. Their names or lack of names are indicators of the playwright’s design: to display rubrics of humanity in a state beyond s ...
... his “absolute mastery” of the “chloroformed world.”5 Far from being particular and finite, inhabitants of Beckett’s dramatic works represent the human condition in its entirety. Their names or lack of names are indicators of the playwright’s design: to display rubrics of humanity in a state beyond s ...
Eugene Ionesco
... There are several strategies of the absurd: - The nihilistic absurd, in which it is practically impossible to draw any conclusions about the world view or philosophical implications of the text or acting (IONESCO, HILDESHEIMER); ...
... There are several strategies of the absurd: - The nihilistic absurd, in which it is practically impossible to draw any conclusions about the world view or philosophical implications of the text or acting (IONESCO, HILDESHEIMER); ...
Krapp`s Last Tape
... the voice of a younger, 39-year-old Krapp who is situated in the past, but whom we can hear in the present. This uncertain chronological relationship poses the question «Who is speaking when?». It is actually the younger, ‘past’ Krapp that we hear on stage now (in 1958), while the old, ‘present’ Kra ...
... the voice of a younger, 39-year-old Krapp who is situated in the past, but whom we can hear in the present. This uncertain chronological relationship poses the question «Who is speaking when?». It is actually the younger, ‘past’ Krapp that we hear on stage now (in 1958), while the old, ‘present’ Kra ...
Presence in Drama and Theory
... Blau suggests an unspoken dialogue between Beckett and Antoine Artaud, perhaps the most well known French playwright to have attempted both to access and exploit a supposed natural presence of the theatre. In fact, Blau describes Beckett's Endgame as more than simply evocative of Artaud's theater, b ...
... Blau suggests an unspoken dialogue between Beckett and Antoine Artaud, perhaps the most well known French playwright to have attempted both to access and exploit a supposed natural presence of the theatre. In fact, Blau describes Beckett's Endgame as more than simply evocative of Artaud's theater, b ...
the oscholars - WordPress.com
... after the rejection of his Le Faune, intermède héroïque, it had become clear that Hérodiade would fare no better. It ...
... after the rejection of his Le Faune, intermède héroïque, it had become clear that Hérodiade would fare no better. It ...
Anti-Theatre on Film - University of Nottingham
... Jean-Luc Godard, is rooted in the existentialist notion of the subject. Robbe-Grillet's discussion of Waiting for Godot points to the existentialist underpinnings of this new conception of character/subject as absolutely free: The dramatic character, in most cases, merely plays a role, like the peop ...
... Jean-Luc Godard, is rooted in the existentialist notion of the subject. Robbe-Grillet's discussion of Waiting for Godot points to the existentialist underpinnings of this new conception of character/subject as absolutely free: The dramatic character, in most cases, merely plays a role, like the peop ...
The Phenomenal Presence of Invisible Legs: Beckett
... spirit” (40-1). Craig’s theatre had no use for “flesh and blood,” and therefore the actor was banished from it. While deliberately inflammatory, Craig’s radical theories were in fact rooted in a longstanding and systemic anxiety about the “real” performing body in Western drama. Traditional Western ...
... spirit” (40-1). Craig’s theatre had no use for “flesh and blood,” and therefore the actor was banished from it. While deliberately inflammatory, Craig’s radical theories were in fact rooted in a longstanding and systemic anxiety about the “real” performing body in Western drama. Traditional Western ...
