Pub Date : 2022-08-24DOI: 10.1163/18757405-03402005
Llewellyn Brown
Au lieu de se réduire à un discours ‘sur’ une œuvre d’art, l’ekphrasis est révélatrice de la logique double réunissant le visuel et le verbal, où chacun décomplète l’autre. Ce caractère double trouve expression dans les « pseudocouples » que forment Beckett et Duthuit, ou encore les frères van Velde, tels que Beckett les évoque. Tout comme le registre spéculaire de l’image, ces couples sont destinés à se défaire, pour cerner la « dérobade » de l’objet et les limites internes du langage.
ekphrasis并没有被简化为“关于”一件艺术品的话语，而是揭示了视觉和语言的双重逻辑，两者都破坏了另一种。在这双重性质反映在« pseudocouples »,组成了贝克特和Duthuit、或者兄弟等van de Velde Beckett)谈到。如同镜面registry的形象,这些夫妇打算丢弃,以了解« 胡编乱造»语言内部的目的和限制的。
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Pub Date : 2022-08-24DOI: 10.1163/18757405-03402013
Kaveh Azodi, Sara Khazai, Mahmoud Reza Ghorban Sabbagh
Waiting for Godot and Endgame are rich in terms of interaction between characters and their surrounding contexts. The present paper examines these interactions according to the mathematical theory of games proposed by Steven J. Brams in Divine Games: Game Theory and the Undecidability of a Superior Being. The framework of Search Decision is used to examine the differences between the two plays in terms of interaction between the “state of nature” and Person, which provides a clear understanding of the reasons behind strategies characters may take within uncertain environments.
《等待戈多》和《终局之战》在角色和周围环境之间的互动方面非常丰富。本文根据Steven J. Brams在《神圣的游戏:博弈论和优等存在的不可判定性》中提出的博弈论数学理论来研究这些相互作用。搜索决策的框架被用来研究这两个剧本在“自然状态”和“人”之间的相互作用方面的差异，这为角色在不确定环境中可能采取的策略背后的原因提供了一个清晰的理解。
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Pub Date : 2022-08-24DOI: 10.1163/18757405-03402002
É. Eigenmann
Cet article analyse les motifs récurrents de l’écoute et du regard dans l’ensemble des dramaticules de Beckett rédigés en français. Il tient compte de la réalisation scénique, télévisuelle ou radiophonique des textes en question et fait la part de l’inaudible, de l’invisible, voire de l’inintelligible qu’ils mettent en scène. Etendant le questionnement à la réception des pièces du corpus, il inscrit les motifs mentionnés dans des dispositifs de perception qui contribuent à renverser les caractéristiques sémiotiques traditionnelles de la relation théâtrale et à dessiner un nouveau facteur d’unité esthétique au sein de ces « petits drames » beckettiens, par-delà les différences génériques.
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Pub Date : 2022-08-24DOI: 10.1163/18757405-03402008
Alice Clabaut
Pour la toute première fois en 1986, une pièce de Beckett est jouée en RDA, dans le lieu très symbolique qu’était le Palais de la République à Berlin-Est. Ce n’est pas le tant attendu Godot qui marquera la fin officielle de la censure pesant sur l’auteur mais La Dernière Bande, mise en scène par David Leveaux et Ekkehard Schall. Toutefois, dans le climat tendu précédant de peu la chute du mur de Berlin, représenter une pièce de Beckett seule n’aurait pas été possible. Celle-ci est couplée avec le poème épique de Brecht « L’Éducation du millet ». Entrent en dialogue deux auteurs de renom, deux héros a priori très opposés, deux blocs politiques en conflit. On retient moins l’événement pour ses qualités dramaturgiques que pour sa résonance politique.
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Pub Date : 2022-04-25DOI: 10.1163/18757405-03401007
J. Heron
Nando Messias is a Brazilian artist based in London whose work straddles performance art, dance and theatre. This interview explores how Nando brings a ‘queer’ perspective to our understanding of Beckett’s drama and Beckettian aesthetics. The artist reflects upon their training, the performing of Not I, and their wider practice in live art and queer performance.
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Pub Date : 2022-04-25DOI: 10.1163/18757405-03401005
Rosaleen Maprayil
This article explores the way in which modern productions of Happy Days (by Sarah Frankcom and Katie Mitchell) can be read as a reappraisal of Winnie’s predicament in the light of climate change and disaster. By viewing the mound as both home and tomb, this exploration of the play in performance examines the way domestic rituals form part of her survival strategies. By utilising the critical framework of phenomenology and material object theory alongside environmental and sociological studies, this paper aims to further our understanding of the female body and its relationship with the environment in moments of crisis that lead to displacement, due to disaster, ageing or homelessness.
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Pub Date : 2022-04-25DOI: 10.1163/18757405-03401002
Dúnlaith Bird
This article examines Not I through the paradigm of keening (caoineadh), the Irish practice of mourning the dead, traditionally carried out by paid female performers. Keening, as a third-person lament and a socially-connotated form of female labour, offers a different vantage point on Beckett’s text, and interrogates Beckett’s engagement with gender, labour, and mourning more generally. Following an exploration of traditional keening practices and their repression by the Catholic Church, the article examines how this practice of “singing the dead” may inflect our understanding both of Mouth’s role in Not I, with its ‘posthumous feel’, and of the labour required from the performer to bring Mouth’s song to life.
{"title":"‘… Or That Time She Cried …’","authors":"Dúnlaith Bird","doi":"10.1163/18757405-03401002","DOIUrl":"https://doi.org/10.1163/18757405-03401002","url":null,"abstract":"\u0000 This article examines Not I through the paradigm of keening (caoineadh), the Irish practice of mourning the dead, traditionally carried out by paid female performers. Keening, as a third-person lament and a socially-connotated form of female labour, offers a different vantage point on Beckett’s text, and interrogates Beckett’s engagement with gender, labour, and mourning more generally. Following an exploration of traditional keening practices and their repression by the Catholic Church, the article examines how this practice of “singing the dead” may inflect our understanding both of Mouth’s role in Not I, with its ‘posthumous feel’, and of the labour required from the performer to bring Mouth’s song to life.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81379988","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 : 2022-04-25DOI: 10.1163/18757405-03401004
Katherine Weiss
In Samuel Beckett’s Happy Days, the protagonist Winnie recalls being gawked at by an offensive passerby. Despite the pain she endures from this crude fellow whose looking represents the patriarchal gaze, the aging Winnie seeks attention from her husband and the audience. In her need for attention, that is to-be-looked-at, Winnie reveals that she is not meek. She fondly recollects men from her past and with pleasure looks at a pornographic postcard she takes from her partner, Willie. Beckett’s play complicates the patriarchal gaze with its exploration of the female gaze—a gaze that reveals Winnie’s desire for sexual intimacy.
{"title":"“Heavens What Are They Up To!”","authors":"Katherine Weiss","doi":"10.1163/18757405-03401004","DOIUrl":"https://doi.org/10.1163/18757405-03401004","url":null,"abstract":"\u0000 In Samuel Beckett’s Happy Days, the protagonist Winnie recalls being gawked at by an offensive passerby. Despite the pain she endures from this crude fellow whose looking represents the patriarchal gaze, the aging Winnie seeks attention from her husband and the audience. In her need for attention, that is to-be-looked-at, Winnie reveals that she is not meek. She fondly recollects men from her past and with pleasure looks at a pornographic postcard she takes from her partner, Willie. Beckett’s play complicates the patriarchal gaze with its exploration of the female gaze—a gaze that reveals Winnie’s desire for sexual intimacy.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84391958","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 : 2022-04-25DOI: 10.1163/18757405-03401011
Pim Verhulst
This article analyzes Beckett’s radio plays Embers and Words and Music in the context of the BBC Third Programme and its cultural politics, to argue that they engage with the censorship of his work, especially when it comes to sexual matters, in hitherto unexplored ways. While Embers both challenges and eludes censorship by means of ambiguous or abstract phrasing, Words and Music builds on this strategy and thematizes self-censorship through music. This connects Beckett’s radio plays from the 1950s and 1960s to earlier works from the 1930s like Murphy and Dream of Fair to Middling Women, widening the censorship debate.
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