Pub Date : 2023-03-13DOI: 10.1163/18757405-03501007
Dúnlaith Bird
This article examines the Shannon Scheme, which involved the construction of the largest hydroelectric dam in Europe from 1925, and the subsequent Rural Electrification Scheme (RES) not just as defining projects of the modern Irish State, but as social watersheds of the twentieth century that had a complex and wide-ranging influence on artists including Seán Keating and Samuel Beckett. The article considers the intertwining of art and electricity in the artistic responses to the Scheme and the RES, Irish electrification’s political and social resonances, and the extent to which Beckett’s plays, particularly Endgame, can be read as ‘electric’ works.
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Pub Date : 2023-03-13DOI: 10.1163/18757405-03501010
Celia Graham-Dixon
Deriving from the original 1976 theatre production, the 1990 television version of Footfalls has garnered little to no critical attention in and of itself. Seeking to redress this omission, this article argues that Footfalls on screen is a crucial document of the original production and introduces aesthetic and affective qualities that enhance our understanding of the play. Working with a DVD copy of a VHS recording of the play from its original broadcast on television, this article parses out the relationship between the spectral materiality of this recording and the ideas of spectrality, authorship and subjectivity that are central to the play.
{"title":"“Work-in-Progress”","authors":"Celia Graham-Dixon","doi":"10.1163/18757405-03501010","DOIUrl":"https://doi.org/10.1163/18757405-03501010","url":null,"abstract":"\u0000 Deriving from the original 1976 theatre production, the 1990 television version of Footfalls has garnered little to no critical attention in and of itself. Seeking to redress this omission, this article argues that Footfalls on screen is a crucial document of the original production and introduces aesthetic and affective qualities that enhance our understanding of the play. Working with a DVD copy of a VHS recording of the play from its original broadcast on television, this article parses out the relationship between the spectral materiality of this recording and the ideas of spectrality, authorship and subjectivity that are central to the play.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83599605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-13DOI: 10.1163/18757405-03501003
Emilie Morin
Spectrality remains a key motif and metaphor in Beckett’s writing; many of his wandering and destitute creations seem on their way towards another kind of life, uncomfortably close to death, and remarkably close to the spirit world. This article outlines some of the paradoxes that surround Beckett’s relation to the ghost as a dramatic device; it emphasises how uneasily Beckett’s work sits within the tradition of the ghost play, and unravels some of the preoccupations and interests shaping Beckett’s treatment of dialogues with the dead.
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Pub Date : 2023-03-13DOI: 10.1163/18757405-03501011
Sarah Jane Scaife
This article provides a short introduction to a theatre project entitled Beckett sa Chreig: Laethanta Sona (Beckett in the Rock: Happy Days), which breaks the boundaries of the traditional ‘Beckett space’. The project was a collaboration between the landscape, language and people of Inis Oírr, Samuel Beckett and Company SJ, and involved Mícheál Ó Conghaile’s translation of Happy Days into Irish (as Laethanta Sona) and its performance by Bríd Ní Neachtain. The set, built by local stone masons, was immersed in the landscape of Inis Oírr, the westernmost island of Ireland, arising sculpturally from the flaggy rock of a stone field, surrounded by the Atlantic Ocean.
本文简要介绍了一个名为Beckett sa Chreig: Laethanta Sona(贝克特在岩石:快乐的日子)的剧院项目，它打破了传统的“贝克特空间”的界限。该项目是爱尔兰的景观、语言和人民Oírr、Samuel Beckett和Company SJ之间的合作，并涉及Mícheál Ó Conghaile将《Happy Days》翻译成爱尔兰语(作为Laethanta Sona)和Bríd Ní Neachtain的表演。布景由当地石匠建造，沉浸在爱尔兰岛最西端的伊尼斯Oírr的景观中，雕塑般地矗立在大西洋环绕的一块石板地上。
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Pub Date : 2023-03-13DOI: 10.1163/18757405-03501006
Olan Andrew Stephens
This essay is a reflection on the Irish word uaigneas, often translated into ‘loneliness’ or ‘solitude’, but closer in meaning to ‘away-from-ness’ or ‘without-ness’ (my own translation). Considering the impact of Beckett’s settings and subjects on my performance practice as an artist and musician working within the Irish landscape and with the Irish language, and thinking about rurality as a possible site for performance, I reflect on the possibility that within the Irish language and Beckett’s writing there are similarly embodied and spectral experiences of place.
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Pub Date : 2023-03-13DOI: 10.1163/18757405-03501009
Hannah Simpson
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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Pub Date : 2023-03-13DOI: 10.1163/18757405-03501008
C. Duane
This article focuses on Company SJ’s The Women Speak as performed at the National Ballroom, Dublin, in 2015, and explores how a space, including through social relations and through its position in a cultural landscape, can function as a form of archive when utilized as the site of a theatrical performance. The article investigates how Company SJ’s site-specific production (which features performances of Not I, Footfalls, Rockaby and Come and Go) functioned as a kind of archive, an archaeological record of human interaction, which was framed by the scenographic design to prompt and draw on the audience’s embodied responses.
本文以2015年在都柏林国家舞厅演出的SJ公司的《女人说话》为例，探讨了一个空间如何通过社会关系和其在文化景观中的地位，在作为戏剧表演场地时发挥档案形式的作用。本文研究了SJ公司的特定场地制作(包括《Not I》、《Footfalls》、《Rockaby》和《Come and Go》的表演)如何作为一种档案，一种人类互动的考古记录，通过场景设计来提示和吸引观众的具体反应。
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Pub Date : 2023-03-13DOI: 10.1163/18757405-03501005
Alicia Nudler
This article examines Samuel Beckett’s play Krapp’s Last Tape in the context of Argentinian post-dictatorship theatre. I offer a brief history of Beckett’s influence on theatre in Argentina together with a summary of the performance history of his plays, and I reflect on the ways in which they have been interpreted in Argentina’s recent history. This contextualization enables me to focus on the figure of Krapp and discuss the stops and starts that Krapp performs while playing and recording his tapes. By examining Krapp’s archive, the article engages in a discussion about individual and collective memory: I draw attention to the play’s resonances in relation to the political processes unfolding in Argentina today, where archives are of vital importance in recovering from the social trauma of the last dictatorship.
{"title":"Stops and Starts","authors":"Alicia Nudler","doi":"10.1163/18757405-03501005","DOIUrl":"https://doi.org/10.1163/18757405-03501005","url":null,"abstract":"\u0000 This article examines Samuel Beckett’s play Krapp’s Last Tape in the context of Argentinian post-dictatorship theatre. I offer a brief history of Beckett’s influence on theatre in Argentina together with a summary of the performance history of his plays, and I reflect on the ways in which they have been interpreted in Argentina’s recent history. This contextualization enables me to focus on the figure of Krapp and discuss the stops and starts that Krapp performs while playing and recording his tapes. By examining Krapp’s archive, the article engages in a discussion about individual and collective memory: I draw attention to the play’s resonances in relation to the political processes unfolding in Argentina today, where archives are of vital importance in recovering from the social trauma of the last dictatorship.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82728237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-13DOI: 10.1163/18757405-03501013
Pascal Mougin
Résumé On ne peut comprendre l’importance majeure de l’œuvre de Beckett dans l’art contemporain sans revenir sur la réception de l’écrivain par les « néo-avant-gardes » américaines des années 1960 – l’art minimal en particulier –, qui marquent le moment inaugural, précisément, de l’art contemporain. Beckett fournit alors aux artistes ainsi qu’aux critiques qui les défendent une référence essentielle dans leur tentative de repenser la notion d’œuvre d’art et l’expérience esthétique contre les fondamentaux du modernisme tel que les conçoit Clement Greenberg. Pourtant, Beckett lui-même n’a semble-t-il jamais participé aux débats sur le minimalisme américain ni seulement évoqué les artistes new-yorkais. Et pour cause : les artistes de son temps qui l’intéressent sont tous des peintres de l’expressionnisme abstrait, autrement dit le courant moderniste contre lequel se positionne la nouvelle avant-garde new-yorkaise. Le hiatus est donc profond entre les références artistiques de l’écrivain et les artistes qu’il a lui-même inspirés. On s’intéressera ici à ce moment originel, qui reste largement ignoré par la critique française, ainsi qu’aux différentes lectures qui, rétrospectivement, en ont été proposées par la critique anglo-américaine des vingt dernières années.
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