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Relevant bibliographies by topics / Beckett, Samuel Beckett, Samuel Beckett

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Academic literature on the topic 'Beckett, Samuel Beckett, Samuel Beckett'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Beckett, Samuel Beckett, Samuel Beckett"

1

Tokarev, Dimitri. "Samuel Beckett Et La Russie." Samuel Beckett Today / Aujourd'hui 17, no. 1 (November 1, 2007): 83–96. http://dx.doi.org/10.1163/18757405-017001006.

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We know that Beckett had read some Russian authors of the 19th century who could have influenced his own works. More concretely, he was interested in the art of several personages of the Soviet and Russian cultural life. Another aspect of the same theme concerns the perception of Beckett's texts in Russia from the 1950 and up to our days. Thus, the article treats of the followings subjects : Beckett and the Russian classical literature ; Dostoevsky ; by Gontcharov ; by Tourgueniev ; the Russian 'meetings' of Beckett : Eisenstein, Stravinsky, Pasternak, sculptor Vadim Sidur ; Beckett and the representatives of the Russian 'underground' literature of the 1950–1970 : Joseph Brodsky ; Russian translations of Beckett : how to translate Beckett in Russian? ; theatre representations of Beckett plays in Russia. Finally, we analyze from the typological point of view the affinities between the works of Beckett and Daniil Harms (1905–1942), Russian poet, playwright and writer of the 1920-1930 who is often considered by critics an absurd author.

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Tubridy, Derval. "Samuel Beckett and Performance Art." Journal of Beckett Studies 23, no. 1 (April 2014): 34–53. http://dx.doi.org/10.3366/jobs.2014.0085.

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‘Samuel Beckett and Performance Art’ explores the interconnections between Performance Art and Samuel Beckett's prose and drama. It analyses the relations between Beckett's work and that of Franz Erhard Walther, Bruce Nauman, Dennis Oppenheim, Vito Acconci, Chris Burden, Marina Abramovic, Alastair MacLennan and Amanda Coogan. It concludes that examining Beckett in the context of Performance Art enables us to reconsider elements vital to his theatre: the experience of the body in space in terms of duration and endurance; the role of repetition, reiteration and rehearsal; and the visceral interplay between language and the body.

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Weiss, Katherine. "James Joyce and Sergei Eisenstein: Haunting Samuel Beckett's Film." Journal of Beckett Studies 21, no. 2 (September 2012): 181–92. http://dx.doi.org/10.3366/jobs.2012.0045.

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Samuel Beckett's Film has been the focus of several articles in the past decade. While current investigations of Beckett's film are diverse, what most of them share is their dependence on biographical data to support their readings. Many scholars who have written on Beckett's failed cinematic excursion, for example, point to Beckett's letter of 1936 to Sergei Eisenstein. However, the link between Beckett's interest in film and his admiration for James Joyce has sadly been overlooked. Both Irish writers saw the artistic possibilities in film and both admired the Russian silent film legend, Sergei Eisenstein. Although there is no record of Joyce and Beckett discussing cinema or of Beckett knowing about Joyce's meeting with Eisenstein in 1929, it seems unlikely that Beckett would not have known something about these meetings or Joyce's much earlier film enterprise, the Volta. By re-examining Film and speculating on the possible three way connections between Eisenstein, Joyce and Beckett, I wish to add a footnote to Beckett studies which hopefully will lead others to wander on the Beckett-Joyce-Eisenstein trail and which will open up further discussions of Film. Beckett's film is haunted by the memory of his friendship with James Joyce and his admiration for Eisenstein's talent, both of which are visible in the screen images and theme of Film.

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McMullan, Anna. "Samuel Beckett and Intermedial Performance." Samuel Beckett Today / Aujourd’hui 32, no. 1 (April 17, 2020): 71–85. http://dx.doi.org/10.1163/18757405-03201006.

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Abstract This article analyses two intermedial adaptations of works by Beckett for performance in relation to Ágnes Pethő’s definition of intermediality as a border zone or passageway between media, grounded in the “inter-sensuality of perception.” After a discussion of how Beckett’s own practice might be seen as intermedial, the essay analyses the 1996 American Repertory Company programme Beckett Trio, a staging of three of Beckett’s television plays which incorporated live camera projected onto a large screen in a television studio. The second case study analyses Company SJ’s 2014 stage adaptation of a selection of Beckett’s prose texts, Fizzles, in a site-specific, historical location in inner city Dublin, which incorporated projected sequences previously filmed in a different location, a former power station.

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Furlani, Andre. "Revisioning Beckett: Samuel Beckett’s decadent turn." Irish Studies Review 28, no. 1 (January 2, 2020): 146–49. http://dx.doi.org/10.1080/09670882.2020.1714839.

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McMullan, Anna, and Trish McTighe. "Samuel Beckett and Irish Scenography." Irish University Review 45, no. 1 (May 2015): 141–56. http://dx.doi.org/10.3366/iur.2015.0157.

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This essay offers some glimpses of the parallel histories of Beckett and Irish scenography, and explores how they have impacted on each other. In particular, we investigate the intersections between Beckett and theatre in Dublin in the 1920s and 1930s, considering whether the staging innovations of the Dublin theatres of Beckett's formative years helped to shape his scenographic imagination. We then focus on Louis le Brocquy's designs for the Gate Theatre production of Waiting for Godot in 1988, which went on to constitute the core of their Beckett Festival, launched in 1991, with various revivals and national and international tours since then.

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Heron, Jonathan, Nicholas Johnson, Burç Îdem Dinçel, Gavin Quinn, Sarah Jane Scaife, and Áine Josephine Tyrrell. "The Samuel Beckett Laboratory 2013." Journal of Beckett Studies 23, no. 1 (April 2014): 73–94. http://dx.doi.org/10.3366/jobs.2014.0087.

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This multi-authored dossier is the first publication to emerge from the Samuel Beckett Laboratory, a new space for fundamental research into Beckett's work in performance established at the Samuel Beckett Summer School at Trinity College Dublin. In 2013 the focal point of the Laboratory's work was the Shakespeare/Bare Room manuscript fragment. The dossier uses the frame of practice-as-research to explore methodology, documentation from facilitators and guest artists, and qualitative data gathered from students and participants. This signals a new approach to work in Beckett Studies and an evolution of methods in Theatre and Performance Studies.

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Edward Albee. "Samuel Beckett." Princeton University Library Chronicle 68, no. 1-2 (2007): 429. http://dx.doi.org/10.25290/prinunivlibrchro.68.1-2.0429.

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Pearce, Gary. "Samuel Beckett." Irish Studies Review 19, no. 4 (November 2011): 461–63. http://dx.doi.org/10.1080/09670882.2011.623446.

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Kędzierski, Marek. "Samuel Beckett and Poland (1981–2008)." Tekstualia 4, no. 55 (December 18, 2019): 63–76. http://dx.doi.org/10.5604/01.3001.0013.3462.

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The article concentrates on the Polish reception of Samuel Beckett in the years 1981–2008. It fi rst examines the negative opinions on Beckett, expressed by writers who did not speak highly of his work, e.g. Czesław Miłosz. It subsequently deals with Beckett’s translations, mostly by Kędzierski and Libera, both of whom actually collaborated with the author. The article offers discusses Polish theatre productions of in the context of Polish history, especially the fall of the communist regime, showing how Beckett’s spectacles coincided with the democratic changes in the country. Special attention is paid to Antoni Libera’s achievement not only as a translator, but also a theatre director, who staged Beckett’s plays in a way that was meant to convey the writer’s visions. The article also looks at a selection of actors who have played Beckett’s characters, e.g. Giulia Lazzarini, and how they contributed to Beckett’s reception in Poland. The last part of the article concerns alternative projects inspired by Beckett’s works, such as Piotr Szczerski’s eleven spectacles played simultaneously in different parts of Teatr Żeromskiego in Kielce.

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Dissertations / Theses on the topic "Beckett, Samuel Beckett, Samuel Beckett"

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Locke, Aiden. "Beckett's telling stills : Samuel Beckett and photography." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326628.

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Schubert, Gesa. "Die Kunst des Scheiterns : die Entwicklung der kunsttheoretischen Ideen Samuel Becketts." Berlin [u.a.] Lit, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2976401&prov=M&dokv̲ar=1&doke̲xt=htm.

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Poiana, Peter. "Entre la voix et le texte : quelques modeles de rhetorique dans trois oeuvres de Samuel Beckett /." Title page, contents and summary only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armp749.pdf.

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Jones, Robert. "Beckett and the philosopher." Diss., Connect to the thesis, 2004. http://hdl.handle.net/10066/684.

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Tan, Tijen. "Existentialism And Samuel Beckett." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608995/index.pdf.

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This thesis carries out an analysis of the plays by Samuel Beckett, Endgame and Happy Days. It achieves this by exploring how the playwright&rsquo
s characterization, setting and use of language in these plays display his tendency to employ some existentialist concepts such as despair, anxiety and thrownness on the way to authenticity. This study argues that there are some similarities between Beckett&rsquo
s two plays and Existentialism, and some characters in both plays display the existentialist man who is looking for becoming an authentic man. In other words, although there are some differences, these plays show that Samuel Beckett&rsquo
s view of Existentialism is quite similar to the Sartrean view.

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Clavier, Évelyne. "Danser avec Samuel Beckett." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30022.

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Ce travail de recherche se propose d’analyser le rapport de Samuel Beckett (1906-1989) à la danse ainsi que la relation de deux chorégraphes contemporains Dominique Dupuy (1930-) et Maguy Marin (1951-) à ses œuvres. La première partie démontre que Samuel Beckett a été influencé par la danse moderne qu’il a découverte dans l’entre-deux-guerres. Son écriture est devenue plus gestuelle et son propos plus politique. Ainsi, aux corps sains et glorieux promus par les arts nazis, oppose-t-il dans son premier théâtre les corps vulnérables travaillés par la vieillesse et les handicaps, ceux d’hommes que le IIIe Reich a voulu rendre superflus. En 1953, la danse de Lucky d’En attendant Godot est un moyen de dire l’innommable de cette violence. En 1981, la danse de Quad fait resurgir les fantômes du passé pour prévenir le retour du pire. Comment le dire ? La danse, un art du « non mot » participe à cette recherche qui traverse l’œuvre de Samuel Beckett. Ce dont on ne peut pas parler, c’est cela qu’il faut danser. Dans un deuxième temps, cette étude montre comment les œuvres de Samuel Beckett sont à leur tour inductrices de danses où les êtres vulnérables résistent et appellent au care. Danser avec Oh les beaux jours, Acte sans paroles et Cap au pire permet à Dominique Dupuy d’interroger les possibles du grand âge et d’en transformer les représentations. A partir de Fin de partie, Maguy Marin écrit en 1981 May B, une pièce chorégraphique, aux antipodes de la danse performante, qui rend visibles les handicaps. Son œuvre invite à une lecture actualisante de l’œuvre de Samuel Beckett prenant en considération la condition des personnes handicapées et permettant d’entrevoir la possibilité d’une société plus inclusive. La dernière partie témoigne qu’une lecture éthique des œuvres de Samuel Beckett et de leurs projections chorégraphiques peut devenir le vecteur de pratiques d’inclusion et d’émancipation par l’école. Telle est la vocation du projet Meeting Beckett mené en 2016-2017 en partenariat avec le chorégraphe K Goldstein, avec les élèves en situation de handicap d’un dispositif Ulis (Unité localisée pour l’inclusion scolaire) et ceux d’une classe de 5ème. Il s’agit enfin de se demander dans quelle mesure les pratiques artistiques peuvent susciter de nouveaux gestes professionnels à l’école et initier une dynamique inclusive, capable de faire une place à chacun et chacune au sein de la société
This research analyses the relationship of Samuel Beckett (1906-1989) to dance and the relationship of two contemporary choreographers Dominique Dupuy (1930-) and Maguy Marin (1951-) to his works. The first part shows that Samuel Beckett was influenced by the modern dance he discovered between the two World Wars. His writing became more gestural and his discourse more political. Thus, to the healthy and glorious bodies promoted by the Nazi arts, he opposed in his first theatre the vulnerable bodies weakened by old age and disabilities, those of men whom the Third Reich wanted to make superfluous. In 1953, Lucky's dance in Waiting for Godot is a way of telling the unnamable of this violence. In 1981, the dance of Quad brings back the ghosts of the past to prevent the return of the worst. How to say? Dance, an art of the "non word", is part of this research that runs through Samuel Beckett's work. What one can't talk about is what one has to dance about. Secondly, this study shows how Samuel Beckett's works induce dances in which vulnerable beings resist and call for care. Dancing with Happy days, Act Without Words I and Worstward Ho allows Dominique Dupuy to question the possibilities of old age and transform its representations. Starting with Endgame, Maguy Marin wrote May B in 1981, a choreography miles apart from high-performance dance, which makes disabilities visible. Her work offers an updated reading of Samuel Beckett's work that takes into consideration the condition of disabled persons and allows us to envision the possibility of a more inclusive society. The last part shows that an ethical reading of Samuel Beckett's works and their choreographic projections can become the vector of inclusion practices and emancipation at school. This is the vocation of the Meeting Beckett project conducted in 2016-2017 in partnership with choreographer K Goldstein, with disabled pupils from an Ulis (Unité localisée pour l'inclusion scolaire) and 5th graders. Finally, we need to ask ourselves to what extent artistic practices can encourage new professional gestures at school and initiate an inclusive dynamic, capable of giving a place for everyone in society

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Milz, Manfred Beckett Samuel Giacometti Alberto. "Samuel Beckett und Alberto Giacometti : das Innere als Oberfläche ; ein ästhetischer Dialog im Zeichen schöpferischer Entzweiungsprozesse (1929 - 1936) /." Würzburg : Königshausen & Neumann, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2872853&prov=M&dok_var=1&dok_ext=htm.

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Prince, Eric Samuel. "The stagecraft of Samuel Beckett." Thesis, University of Ulster, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260836.

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Weiss, Katherine. "The Plays of Samuel Beckett." Digital Commons @ East Tennessee State University, 2013. http://amzn.com/140814557X.

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Beckett remains one of the most important writers of the twentieth century whose radical experimentations in form and content won him the Nobel Prize for Literature in 1969. This Critical Companion encompasses his plays for the stage, radio and television, and will be indispensable to students of his work. Challenging and at times perplexing, Beckett's work is represented on almost every literature, theatre and Irish studies curriculum in universities in North America, Europe and Australia. Katherine Weiss' admirably clear study of his work provides the perfect companion, illuminating each play and Beckett's vision, and investigating his experiments with the body, voice and technology. It includes in-depth studies of the major works Waiting for Godot, Endgame and Krapp's Last Tape, and as with other volumes in Methuen Drama's Critical Companions series it features too a series of essays by other scholars and practitioners offering different critical perspectives on Beckett in performance that will inform students' own critical thinking. Together with a series of resources including a chronology and a list of further reading, this is ideal for all students and readers of Beckett's work.
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Weiss, Katherine. "Samuel Beckett: History, Memory, Archive." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2281.

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Books on the topic "Beckett, Samuel Beckett, Samuel Beckett"

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Harold, Bloom. Samuel Beckett. New York: Bloom's Literary Criticism, 2011.

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Samuel Beckett. London: Faber and Faber, 2000.

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Myriam, Watthée-Delmotte, and Jans Anne-Françoise, eds. Samuel Beckett. Bruxelles: Didier Hatier, 1986.

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Durozoi, Gérard. Samuel Beckett. Paris: Hermann, 2006.

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Minihan, John. Samuel Beckett. Ireland: John Minihan, 2006.

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Dukes, Gerry. Samuel Beckett. Woodstock, NY: Overlook Press, 2002.

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Bruzzo, François. Samuel Beckett. Paris: H. Veyrier, 1991.

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Minihan, John. Samuel Beckett. Ireland: John Minihan, 2006.

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Brockmeier, Peter. Samuel Beckett. Stuttgart: Metzler, 2001.

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Samuel Beckett. Boston: Twayne Publishers, 1986.

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Book chapters on the topic "Beckett, Samuel Beckett, Samuel Beckett"

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Füger, Wilhelm. "Samuel Beckett." In Kindler Kompakt Französische Literatur 20. Jahrhundert, 109–15. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05533-0_23.

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Tönnies, Merle. "Beckett, Samuel." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_7966-1.

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Hesse, Gisela. "Samuel Beckett." In Kindler Kompakt: Drama des 20. Jahrhunderts, 129–31. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04526-3_27.

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Bair, Deirdre. "Samuel Beckett." In The Craft of Literary Biography, 199–215. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-07452-5_13.

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Miller, Lawrence. "Beckett Criticism and Beckett’s Criticism." In Samuel Beckett: The Expressive Dilemma, 1–18. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-12634-7_1.

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Dawe, Gerald. "Samuel Beckett." In The Cambridge Companion to Irish Poets, 153–66. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781108333313.015.

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Paraskeva, Anthony. "Samuel Beckett." In The Speech-Gesture Complex, 162–71. Edinburgh University Press, 2013. http://dx.doi.org/10.3366/edinburgh/9780748684892.003.0005.

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"SAMUEL BECKETT." In Changing States, 136–55. Routledge, 2005. http://dx.doi.org/10.4324/9780203992135-11.

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Parks, Tim. "Samuel Beckett." In Life and Work, 102–23. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300215366.003.0006.

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Powell, Kersti Tarien. "Samuel Beckett." In Tom Stoppard in Context, 62–70. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108303736.011.

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Conference papers on the topic "Beckett, Samuel Beckett, Samuel Beckett"

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Flanagan, John W., Jeremy D. Cutter, and Gaute Mo. "The Realisation of the Samuel Beckett Bridge - Dublin, Ireland." In IABSE Symposium, Venice 2010: Large Structures and Infrastructures for Environmentally Constrained and Urban ised Areas. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2010. http://dx.doi.org/10.2749/venice.2010.0106.

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O'Dwyer, Neill, Nicholas Johnson, Enda Bates, Rafael Pages, Jan Ondrej, Konstantinos Amplianitis, David Monaghan, and Aljosa Smolic. "Virtual Play in Free-Viewpoint Video: Reinterpreting Samuel Beckett for Virtual Reality." In 2017 IEEE International Symposium on Mixed and Augmented Reality (ISMAR-Adjunct). IEEE, 2017. http://dx.doi.org/10.1109/ismar-adjunct.2017.87.

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Lemnaru, Ana Cristina. "Symbols And Gestures In Samuel Beckett’s Theatre." In EduWorld 2018 - 8th International Conference. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.08.03.248.

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Guilmineau, Emmanuel. "Numerical Simulation of Flow Around a Simplified Car Body." In ASME/JSME 2003 4th Joint Fluids Summer Engineering Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/fedsm2003-45138.

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Simulations have been carried out for the generic car body (Ahmed body) for 25° and 35° slant angle. At a previous Workshop [1, 2], the results of different groups showed significant variations, even when the same turbulence models were used. This indicates that either the grids used in the investigation are too coarse to reduce the numerical errors below an acceptable limit, or that other factors, like boundary conditions, model implementation had a significant effect on the simulations. In any case, the results of the simulations were inconclusive, leading to a revaluation of this test case. In this study, we investigate numerically the flow around the Ahmed body for 25° and 35° slant angle. Results are compared with experimental data of Becker et al. [3].

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