{"title":"A Bodily Haunting","authors":"Hannah Simpson","doi":"10.1163/18757405-03501009","DOIUrl":null,"url":null,"abstract":"\n The woman’s wordless scream in Not I and Happy Days acts as a spectral-yet-embodied rendering of unspoken and apparently unspeakable sexual trauma. If trauma symptomology is itself a form of bodily haunting—the past intruding into the present—the wordless scream performs this phenomenon on Beckett’s stage, as a disruptive return of the repressed through the body itself. This essay explores how the performed scream returns embodied trauma to embodied expression in Not I and Happy Days, emphasising the voice as a simultaneously spectral yet profoundly corporeal force. It then examines the potential therapeutic effect of the scream in performance, drawing on a range of actor testimonies.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"16 1","pages":""},"PeriodicalIF":0.3000,"publicationDate":"2023-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Samuel Beckett Today/Aujourd''hui","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1163/18757405-03501009","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERARY THEORY & CRITICISM","Score":null,"Total":0}
引用次数: 0
Abstract
The woman’s wordless scream in Not I and Happy Days acts as a spectral-yet-embodied rendering of unspoken and apparently unspeakable sexual trauma. If trauma symptomology is itself a form of bodily haunting—the past intruding into the present—the wordless scream performs this phenomenon on Beckett’s stage, as a disruptive return of the repressed through the body itself. This essay explores how the performed scream returns embodied trauma to embodied expression in Not I and Happy Days, emphasising the voice as a simultaneously spectral yet profoundly corporeal force. It then examines the potential therapeutic effect of the scream in performance, drawing on a range of actor testimonies.
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