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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&rsquos 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 sociétéThis 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.https://dc.etsu.edu/etsu_books/1072/thumbnail.jpg
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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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Reginio, Robert, David Houston Jones, and Katherine Weiss. "Samuel Beckett and Contemporary Art." Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/3838210794/.
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This groundbreaking collection from scholars and artists on the legacy of Beckett in contemporary art provides readers with a unique view of this important writer for page, stage, and screen. The volume argues that Beckett is more than an influence on contemporary art―he is, in fact, a contemporary artist, working alongside artists across disciplines in the 1960s, 1970s, and beyond.The volume explores Beckett's formal experiments in drama, prose, and other media as contemporary, parallel revisions of modernism's theoretical presuppositions congruent with trends like minimalism and conceptual art. Containing interviews with and pieces by working artists, alongside contributions of scholars of literature and the visual arts, this collection offers an essential reassessment of Beckett's work. Perceiving Beckett's ongoing importance from the perspective of contemporary art practices, dominated by installation and conceptual strategies, it offers a completely new frame through which to read perennial Beckettian themes of impotence, failure, and penury. From Beckett's remains, as it were, contemporary artists find endless inspiration.https://dc.etsu.edu/etsu_books/1182/thumbnail.jpg
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Kennedy, Seán, and Katherine Weiss. "Samuel Beckett: History, Memory, Archive." Digital Commons @ East Tennessee State University, 2010. https://www.amzn.com/0230619444.
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This volume comprises ten essays challenging the dominant account of Samuel Beckett’s engagement with history. As the first full-length volume to address the historical debate in Beckett studies, Samuel Beckett: History, Memory, Archive provides both ground-breaking analysis of the major works as well as a sustained interrogation of the critical assumptions that underpin Beckett studies more generally. Drawing on a range of archival materials, and situating Beckett in historical context, these essays pose a strong challenge to the prevailing critical consensus that he was a deracinated modernist who cannot be read historically.https://dc.etsu.edu/etsu_books/1185/thumbnail.jpg
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Chakraborty, Thirthankar. "Samuel Beckett and Indian literature." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/59865/.
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Godot ke Intezar Mein (Hindi), Godor Pratikshay (Bengali), Eppo Varuvaru (Tamil), Kalpo Ke Kalpana Mari Parvari Chhe (Gujarati), Edin Ahibo Teu (Assamese), Su Yee (Kashmiri): these are just some of the translations and adaptations of Samuel Beckett's Waiting for Godot into Indian languages. They reveal how Beckett's chef d'oeuvre has reached every corner of the country, from Tamil Nadu in the South, to Kashmir in the North, Assam in the East, and Gujarat in the West. Just as Honoré de Balzac's fictitious Godeau returns prosperously from 'Les Indes' in Le Faiseur (1848), Beckett's Godot gains from the remarkable dissemination through a multilingual, multicultural, social, and political space of post-independence India. This thesis, divided into three parts, is a comparative study of the relation between Samuel Beckett's works and Indian prose fiction, drama, and cinema, from the moment when Beckett's oeuvre was first introduced in India. Engaging with recent debates on the concept of world literature, it assesses three phases that are pertinent to the three parts and the circulation of Beckett's works through India: 1) the topical-planetary phase: Beckett's influence on Anglo Indian novelists, starting with Salman Rushdie; 2) the world-making phase: the circulation of Beckett's works amongst Indian playwrights, based on themes, writing techniques and style; and 3) the canonical phase: Beckett's pervasive presence rather than direct influence in Indian mainstream and experimental cinema. Put together, these three parts form a three-phase evolution, and a conceptual framework for world literature. In exploring Beckett's influence, circulation, and pervasive presence in Indian literature, alongside adaptations and re-creations of Beckettian motifs, characters, and stylistic techniques, this thesis not only re-conceives of Beckett's place in world literature today, but it also presents a process by which his works achieve canonicity. Starting with the works of Rushdie, the thesis charters new territories where Beckett's works have found a place, while the comparative approach draws attention to the heterogeneous and complex nature of modern Indian literature.
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Nishimura, Izumi. "Samuel Beckett : un univers polyphonique." Paris 8, 2006. http://www.theses.fr/2006PA083616.
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Cette étude est une recherche herméneutique qui implique une critique génétique se propose d’éclaircir le déploiement de la conscience intérieure des sujets à travers la structure intrinsèque de l’œuvre de Samuel Beckett. Il est courant de mettre en valeur la perte a posteriori de l’identité d’un sujet dans l’univers beckettien avec des termes négatifs liés au désespoir. Cependant, d’après les réécritures entre version anglaise et française, entre manuscrit et texte publié, nous pouvons affirmer que l’important réside dans l’interchangeabilité ou le décalage de nombreux sujets à l’intérieur de l’espace microcosmique. Ces sujets atomiques n’ont rien à voir avec les fonctions humaines telles que la volonté, le sentiment et la communication ; ils sont originellement absents, mais murmurent sans l’aide de la langue donnée. En nous appuyant notamment sur les notions de polyphonie (Bakhtine) et de multiplicité (Deleuze), nous avons analysé principalement les textes romanesques selon trois axes : 1. Lutte / Carnaval, 2. Polyphonie / Univers, 3. Imagination inclusive. Beckett a tout d’abord essayé de distinguer son récit des normes narratives, puis, a fait plusieurs expériences langagières en fixant un espace clos, et a finalement conféré de l’intensité à cet espace. Avec les nouveaux canons qui se sont imposés au cours des rédactions, il en est arrivé à réduire les systèmes langagiers à un état de suspension. Ses textes, ses écrits et ses personnages ne sont pas des entités finies ; ils restent toujours dans une relation dynamiqueThis is a hermeneutical study which encompasses genetic criticism in an attempt to reveal the development of inner consciousness of the subjects by analysing the intrinsic structure of Samuel Beckett’s work. It is common to emphasize the loss a posteriori of the identity of a subject in the Beckett’s world with negative terms connected with despair. However, according to the rewritings of English and French versions of his works, and of both manuscripts and published texts, we can stress the importance residing in the interchangeability or the discrepancy of many subjects in the microcosmic space. These atomic subjects have no relationship with human functions such as will, feelings or communication; they are originally absent, but murmur without the assistance of a given language. By drawing, in particular, on the concepts of polyphony (Bakthin) and multiplicity (Deleuze), we have mainly analysed Beckett’s novels and proses according to the following chapters: 1. Struggle / Carnival, 2. Polyphony / Universe, 3. Inclusive imagination. Beckett first tried to distinguish his story from a normative narrative, then made several linguistic experiments by setting up a closed space, and finally gave intrinsic powers to that space. With the new canons which were imposed on himself while writing, he got to keep the linguistic systems suspended in the air. His texts, his writings and his characters are not finished entities; they always remain in a dynamic relation to one another
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Weiss, Katherine. "Samuel Beckett and Contemporary Art." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5597.
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Wimbush, Andrew Darrell. "Still : Samuel Beckett and quietism." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709050.
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Sarfert, Hans-Jürgen. "Beckett im Japanischen Palais." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2007. http://nbn-resolving.de/urn:nbn:de:swb:14-1176292155510-83886.
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Seine Biographie hielt der irische Dichter Samuel Beckett (1906 - 1989), Träger des Literatur-Nobelpreises 1969, zurückhaltend für wenig erwähnenswert. Deshalb konnten die Lücken nur mühsam geschlossen werden. ....
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Maier, Franz Michael. "Becketts Melodien die Musik und die Idee des Zusammenhangs bei Schopenhauer, Proust und Beckett." Würzburg Königshausen und Neumann, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2883802&prov=M&dok_var=1&dok_ext=htm.
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Campbell, Sam Nicole. "Blend it Like Beckett: Samuel Beckett and Experimental Contemporary Creative Writing." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3769.
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Samuel Beckett penned novels, short stories, poetry, stage plays, radio plays, and scripts—and he did each in a way that blended genre, challenged the norms of creative writing, and surprised audiences around the globe. His experimental approach to creative writing included the use of absurdism, genre-hybridization, and ergodicism, which led to Beckett fundamentally changing the approach to creative writing. His aesthetics have trickled down through the years and can be seen in contemporary works, including Aimee Bender’s short story collection The Girl in the Flammable Skirt and Mark Z. Danielewski’s novel House of Leaves[1]. By examining these works in comparison to Beckett, this project hopes to illuminate the effects of Beckett’s experimentation in form and genre on contemporary creative writing.
[1] The word ‘house’ appears in blue to honor Danielewski’s decision to have the word printed in that color each time it appears in his novel.
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Davies, William. "Samuel Beckett and the Second World War : historicising Beckett's post-humanism." Thesis, University of Reading, 2018. http://centaur.reading.ac.uk/80000/.
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This thesis examines the impacts and traces of the Second World War in the work of Samuel Beckett. The thesis uses a conceptual framework that identifies Beckett’s historical sensibilities within his literary and philosophical engagements with the traditions of humanism and shows how these manifests in the various responses to history that his work produces. Using archival and historical sources, the thesis shows how Beckett’s intellectual attitudes to history and its relationship with art and writing develop across the wartime and post-war period in conjunction with his work’s mounting engagement with the presumptions and promises of modern humanism. By reading Beckett’s writing in the context of his encounters with the politics of the Irish Free State, Nazi Germany, Vichy France and post-Liberation Paris, this thesis both grounds Beckett’s work in its historical moment and shows how his writing incorporates, critiques, mocks and resists many of the dominant historical and political narratives of the period. The project offers new ways to consider Beckett’s use of history within his writing and shows that his treatment of history and his historical contexts frequently inform the most important elements of his literary achievements.
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Tajiri, Yoshiki. "Samuel Beckett and the prosthetic body." Thesis, Birkbeck (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407120.
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FERREIRA, FÁBIO ALVES. "SAMUEL BECKETT: ECHOES AND RESONANCES CONTEMPORARY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25563@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEsta pesquisa investiga a contemporaneidade da obra do escritor irlandês Samuel Beckett. A investigação privilegia três eixos, em três ensaios que articulam aspectos historiográficos, filosóficos e cênicos. O primeiro ensaio pensa de que forma a poética do tempo em Beckett participa do debate atual sobre o contemporâneo. O segundo ensaio, voltado para a produção televisiva de Beckett e atentando em especial às leituras que dela fez Gilles Deleuze, reflete sobre a produção de um pensamento entre, sobre ecos e ressonâncias geradas por este encontro. Por fim, o terceiro ensaio explora a recepção norteamericana da obra de Beckett, a partir da criação cênica e performática desenvolvida em parcerias com o diretor Alan Schneider, nas montagens de Not I e Rockaby, e com grupo Mabou Mines/NY, nas adaptações dos textos não teatrais The lost ones, Company, e Worstward Ho.
This research investigates the contemporary vigor of Samuel Beckett s work. It moves along three main paths, in three essays where historiographical, philosophical and scenic aspects are articulated. The first essay reflects on how Beckett s poetics of time participates in the current debate on the contemporary. The second, focusing on Beckett s plays for television and paying special attention to Gilles Deleuze s readings of it, reflects on the concept of thinking in between, on echoes and resonances generated by this powerful encounter. Finally, the third essay explores the North American reception of Beckett s work, attending to the scenic and performative creations developed in partnership with director Alan Schneider, in the productions of Not I and Rockaby, and with the Mabou Mines Group/NY, in their adaptions of The lost ones, Company, and Worstward Ho.
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Merçon, Francisco Elias Simão. "Samuel Beckett: do figurativo ao figural." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-09112012-115933/.
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Companhia, publicada originalmente em inglês no ano de 1980, é uma narrativa construída na fronteira entre imaginação e enunciação por um sujeito solitário que, deitado de costas no escuro, fabula continuadamente em busca de companhia. Ela se inclui entre as narrativas de Samuel Beckett cuja trama se passa no espaço mental de seus protagonistas, na região comumente chamada de manicômio do crânio. Conhecida por características que a mantêm distante dos esquemas teóricos universais, apresenta uma abundância de programas narrativos que se anulam uns aos outros, resultando num forte clima de incerteza implicado na situação desse homem deitado de costas no escuro, protagonista da história. Contribuem para esse efeito, também, o emprego de anáforas, que não remetem a nenhuma referência segura; a hipóstase dos papéis actanciais, em que actantes se fazem passar por atores; a estruturação dos parágrafos, distribuídos sem relação lógica explícita que os articule uns aos outros; a articulação de determinados eixos semânticos (como luminosidade, solidão, subjetividade, silêncio, entre outros) sob ótica de uma sublógica da língua, que estabelece o primado das relações complexas sobre as articulações da significação pautadas em dicotomias. Com base na teoria semiótica francesa, a presente pesquisa procura demonstrar que esses elementos, que em Companhia promovem o efeito de incerteza, são decorrentes de operações sintáxicas meticulosamente organizadas pelo enunciador beckettiano. Constituem, portanto, procedimentos discursivos que, apesar do forte clima de incerteza vi mencionado, podem ser descritos por meio de análise, especialmente na articulação de sua dimensão figurativa com a dimensão profunda, a figuralidade. Ao longo da análise (desenvolvida na Segunda Parte da tese), procuramos acompanhar o contraponto das diferentes vozes entrelaçadas na trama, sem deixar de considerar os conteúdos dos episódios narrados pela voz na segunda pessoa gramatical. Desse modo, o conflito das vozes responsáveis por estabelecer o ritmo e a tensividade na narrativa está diretamente relacionado com o conteúdo desses episódios, formulados pela voz na segunda pessoa, na forma de fragmentos biográficos desarticulados uns dos outros. Por fim, ao investigar algumas questões de ordem fenomenológica envolvendo o protagonista de Companhia, apresentamos uma possível perspectiva do enfoque figural em outras obras representativas do discurso literário do século XX.Originally published in English in 1980, Company is a narrative built on the border between imagination and enunciation by a loner who, lying on his back in the dark, continuously fables in search of companionship. It is among the narratives by Samuel Beckett whose plot takes place in its protagonists mental space, in the region commonly referred to as the madhouse of the skull. Known for features that keep it distant from universal theoretical frameworks, it presents an abundance of narrative programs which nullify one other, resulting in a strong atmosphere of uncertainty involved in the situation of the man lying on his back in the dark, who is the protagonist of the story. Also contributing to this effect, there is the use of anaphoras, which do not refer to any secure reference; the hypostasis of actancial roles, in which actants pose as actors; paragraph structure, distributed without explicit logical connection that articulates one in relation to the other; the articulation of certain semantic axis (such as luminosity, loneliness, subjectivity, silence, among others) under the light of a language sublogics, which establishes the primacy of complex relationships in opposite to the articulations of signification based on dichotomies. Based on the French semiotics theory, this research seeks to demonstrate that those elements, which in Company promote the effect of uncertainty, result from syntactic operations meticulously organized by the Beckettian enunciator. They, therefore, constitute discursive procedures which, despite the strong atmosphere of uncertainty mentioned, can viii be described by means of analysis, especially in the articulation of their figurative dimension with the in-depth dimension, that is, figurality. Throughout the analysis (developed in Part II of the thesis), the attempt was to follow the counterpoint of different voices intertwined in the plot, while considering the content of the episodes narrated by the voice in the second grammatical person. Thus, the conflict of the voices responsible for setting the narratives pace and tensiveness is directly related to the content of these episodes, formulated by the voice in the second person, in the form of disjointed biographical fragments. Finally, in order to investigate some phenomenological issues involving the protagonist of Company, a possible perspective of the figural focus on other works representative of the literary discourse of the 20th century is introduced.
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Terlemez, Serpil Ekin. "Le Théâtre innommable de Samuel Beckett." Paris 8, 2009. http://www.theses.fr/2009PA083134.
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Ce travail inclut une étude approfondie des pièces de théâtre, ainsi que des autres ouvrages et de l'auto-traduction de Samuel Barclay Beckett qui veut rompre avec le théâtre qui "plaît". C’est une analyse de l'œuvre d'un poète épris de ses langues, aimant jouer avec les mots sur la route de la recherche de sa singularité. Beckett cherche à trouver une nouvelle musique dans l'autre langue. Son auto-traduction surgit comme une flèche qui va droit au but. Les mots qu'il prend pour des notes de musique, sont manipulés par lui comme s'ils étaient des marionnettes. L'auto-traduction de Beckett se détourne du polyglottisme et se fixe au bilinguisme. Son écriture ressemble à la musique de jazz, à cette nouvelle musique de la valeur positive du rythme qui réunit plusieurs courants. Son théâtre est ce creuset poétique-culturel-linguistique-philosophique nourri par plusieurs croisements culturels, linguistiques, philosophique, poétique, littéraires. Ses dons de poète, de sensibilité, sa connaissance intime des arts, de la peinture et de la musique, son adresse intellectuelle, son ingéniosité de faire une bonne synthèse entre la composante visuelle et la composante sonore, textuelle et musicale, lui permettent de raturer les lignes de démarcation des genres artistiques. L'identité du théâtre beckettien émerge de sa différence et de sa volonté de se dépasser ainsi que de se libérer de l'obsession de se refermerThis thesis consists of a detailed study of the plays and other self-translated works of Samuel Barclay Beckett that sought to break with the tradition of theatre that entertains. It is an analysis of the poet's love of languages evident in his distinct wordcraft deployed in the search of a unique idea. Beckett was trying to find a new melody or theme when translating. His self-translations aim above all to keep true to the essence or reason of his works. He treats the individual words as musical notes that are totally subordinate to the themes, which he manipulates as a puppeteer controls his puppets. The writing of Beckett most resembles jazz music with its positive emphasis on rhythms that fuse various themes. His plays create a poetic, cultural, linguistic, and philosophical fusion enriched by the cross-fertilisation between these elements. The identity of the works of Beckett emerges from this “synthesis of differences” and from his desire to exceed himself and to free himself of his urge to shield his inner thoughts
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Hepburn, Kingsley. "Samuel Beckett : the aesthetics of shortness." Thesis, Ulster University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.692823.
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'Samuel Beckett: The Aesthetics of Shortness' sets out to answer the question: What does Beckett's prose achieve through its convention defying approach to expression? The project explores this phenomenon through an examination of a range of Beckett's prose, which includes a selection of less well-known texts by the author. Seemingly, the further from 'convention' a text is the less likely it is to attract the attention of critics. By prioritising these texts the project contributes to knowledge by inviting discussion of those that have generated less critical debate, whilst also framing the more predominant texts within the wider Beckett oeuvre. The thesis uses a narratological methodology to provide a theoretical vocabulary for distinguishing the component parts of fiction which Beckett reduces and removes through his experimentation. It argues that the fewer narrative components a text has the more unconventional it is and, by extension, the more challenging it is to read. Nevertheless, by using aesthetic theory it is possible to assess the success of each text as a piece of literature. These appraisals form the basis of the investigation. The research question is posed to each of the texts analysed in the main body of the thesis and a summary of the findings is provided in the conclusion. The thesis found that the success of each artwork, in relation to traditional models of aesthetic value, varied considerably. The contrast between Beckett's early work in the conventional modern short story in English is contrasted with his subsequent transition into aesthetically short postmodern stories in French.
26
Bailey, Iain Andrew Aitchison. "Samuel Beckett, intertextuality, and the Bible." Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520492.
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This thesis takes up the question of intertextuality between the Bible and Samuel Beckett’s oeuvre. It starts with the contention that this relationship has acquired something of the status of a commonplace within Beckett studies; not that substantial scholarly works have not widened out considerably the way that this is understood, but in Ruby Cohn’s words: ‘today every Beckett student knows his literary allegiances—the Bible and Dante, above all’. The Bible’s status for Beckett comes to be treated as a matter of common sense. In response to this critical situation, one aspect of the thesis is to disclose and analyse previously overlooked examples of the Bible’s presence in Beckett’s work, engaging with hitherto occluded parts of the oeuvre (unpublished manuscript texts and the French works, for example). But at the same time, it looks to critically question what is at stake in the claim that the Bible is a matter of common knowledge for Beckett. The methodology put to work in the thesis always begins in close readings of Beckett’s texts, and also of the discourses surrounding his oeuvre. In doing so, it resists an idea that close reading entails a retreat into an ahistorical formalism; rather, it argues for an historicism that does not simply rest on broad notions of orthodoxy and shared values. Rather than taking for granted a common sense idea of what the Bible is (even in the limited sense of what it is for Beckett), the thesis argues for its instability as a ‘text’ across more than one language. Nor, I argue, does Beckett’s oeuvre fix down a particular, single notion of the Bible as the relevant one for its own purposes (the King James Bible, for instance); on the contrary, his work is deeply engaged with the Bible in all its complex, multilingual textuality. The thesis contends that the particular relationship between Beckett and the Bible poses distinctive problems for the kinds of epistemological value invested in a certain understanding of intertextuality; indeed, I look throughout to interrogate the authority invested in familiarity—both that of the author and that of the critic. Following this thread, the thesis also undertakes a sustained engagement with the way in which archival materials are used and valued by a critical practice interested in questions of intertextuality. Through this, I look to do two things at once: both to respond to the extraordinary value of archival documentation for opening up new possibilities within Beckett studies, and at the same time to analyse closely the extents and limitations of what can be claimed on the basis of such analyses. In working through these kinds of question, and responding to the particular exigencies produced by the Bible in relation to the Beckett oeuvre, I also engage with critical issues having to do with theories of affect, the notion of style (asking what it means to adduce some piece of text as ‘biblical’ or ‘Beckettian’), and the analysis of intertextuality in performance. Through all of these readings, the thesis is interested in what it means to read intertextuality in relation to a Beckett ‘oeuvre’, when the ambit of that oeuvre, its internal interrelationships and its points of connection with the world, constantly shift and reformulate themselves. Rather than treating the Bible as a thread that can be safely followed from one end of the oeuvre to the other, guaranteeing a continuity that remains free from the complexities, irruptions and discontinuities performed in Beckett’s texts, the thesis argues that biblical intertextuality is actively involved in those complex Beckettian movements.
27
Vasconcellos, Cláudia Maria de. "Figuras infernais no teatro de Samuel Beckett." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-19112009-154034/.
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A tese analisa as cinco primeiras peças teatrais de Beckett - Esperando Godot, Fim de Partida, A Última Fita de Krapp, Dias Felizes e Peça e procura identificar seus procedimentos formais básicos, chamados de figuras infernais. Na esteira de Adorno, o estudo da forma aqui realizado encontra na obra de Beckett uma reflexão das configurações sociais e do estado paradoxal da arte dentro deste quadro. As figuras infernais circularidade, confinamento, paradoxo, inconcludência, intermitência, dissimulação e coatividade erigemse também como instrumental crítico para a compreensão do teatro subsecutivo de Beckett, bem como de outros gêneros explorados pelo autor.The thesis analyses the first five plays written by Beckett Waiting for Godot, Endgame, Krapps Last Tape, Happy Days and Play aiming to identify their fundamental formal procedures, which we call here hellish figures. Inspired by Adorno, our study of form finds in the work of Beckett a reflection about the social configuration and the paradoxal state of the Arts during his time. The hellish figures circularity, confinement, paradox, inconclusiveness, interminttence, dissimulation and enforcement can be used as a critical tool to understand Becketts other plays and writings.
28
Auad, Pedro Henrique Trindade Kalil. "Para além do movimento: Samuel Beckett, Chris Marker e Marcelo Mirisola: Samuel Beckett; Chris Marker e Marcelo Mirisola." Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/ECAP-829FGH.
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Nesta dissertação estuda-se a aproximação do cinema e da literatura através do estudo de suas construções temporais, tendo como conceito operacional a imagem-tempo, conceito criado a partir de estudos sobre o cinema realizados por Gilles Deleuze. Através da análise das obras A Última Gravação de Samuel Beckett, La Jetée de Chris Marker, e Joana a Contragosto de Marcelo Mirisola, busca-se estabelecer relações entre diferentes sistemas semióticos. A pesquisa abrange uma delimitação do conceito imagem-tempo estabelecendo suas características. A partir da análise das obras estabelecidas para este trabalho é localizada a ocorrência do conceito imagem-tempo não somente no cinema, mas também na literatura. Essa pesquisa também aborda a ligação entre os autores aqui estudados com o escritor francês Marcel Proust, demonstrando conexões entre a construção temporal do cinema, do texto dramático e da prosa.
29
Weiss, Katherine. "“Samuel Beckett and History,” “Samuel Beckett and the Art of Failure,” and “Modern American Drama and the Greeks”." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5596.
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Sturm, Oliver. "Der letzte Satz der letzten Seite ein letztes Mal : der alte Beckett /." Hamburg : Europ. Verl.-Anst, 1994. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=006429746&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Smith, Russell. "What matter who's speaking : Samuel Beckett and the author-function /." Title page, contents and abstract only, 2000. http://web4.library.adelaide.edu.au/theses/09PH/09phs658.pdf.
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Hartel, Gabriele. "" ... the eyes take over ..." - Samuel Becketts Weg zum "gesagten Bild" : eine Untersuchung von "The lost ones", "Ill Seen Ill Said" und "Stirrings Still" im Kontext der visuellen Kunst /." Berlin : Wissenschaftlicher Verlag Trier, 2004. http://catalogue.bnf.fr/ark:/12148/cb40207842n.
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Walker, Dominic. "Beckett & economics." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/78229/.
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Kizilcik, Hale Hatice. "Jungian Archetypes In Samuel Beckett'." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606397/index.pdf.
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This thesis analyses the Jungian archetypes employed in Beckett's trilogy. It begins with an overview of Jungian archetypes and the relation of these archetypes to the fundamental themes dealt with in Beckett'
s work. The thesis then asserts that some archetypal features occur almost obsessively and are further clearly implicated in the main themes of the trilogy. The central archetypal patterns that frequently appear in the novel are the hero'
s quest, return to paradise and rebirth. This dissertation is therefore primarily organised around these archetypes, and Beckett'
s use of these archetypal motifs to reinforce his black philosophy will be illustrated and exemplified in the study.
35
Kaya, Hilal. "Postmodernist And Poststructuralist Elements In Samuel Beckett." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12610556/index.pdf.
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The aim of this thesis is to analyse the postmodernist and poststructuralist elements in Samuel Beckett&rsquos The Trilogy: Molloy, Malone Dies, The Unnamable and Oguz Atay&rsquo
s Tehlikeli Oyunlar. One text from English literature and one from Turkish literature will be compared. In Beckett&rsquo
s and Atay&rsquo
s novels the main issues of postmodernism and poststructuralism such as subject-object dialectic, the metaphysics of presence, the correspondence theory of truth, origin, self, language, intertextuality and metafiction will be analysed. Both Beckett and Atay problematize the very nature of narrative and display the inefficiency of language, and they successfully create their own &ldquo
expression of interface&rdquo
. That is, Atay and Beckett do not try to imitate the &ldquo
natural world&rdquo
to reach &ldquo
meaning&rdquo
or &ldquo
reality&rdquo
on the contrary, they create a world for the play of signifiers that can be called &lsquo
interface&rsquo
. In other words, both Beckett and Atay create a new sphere to show this problem of expression. This new sphere, which is narrated in their novels, is what the thesis will highlight.
36
Maloney, Cahill B. Claire. "Samuel Beckett and the Irish grotesque tradition." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22606.
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By fusing many of the established hypotheses on the source of the grotesque in Irish literature, this study establishes that these writers' impatience with all boundaries and limitations, physical or mental, led them to exploit the indeterminacy of the grotesque to achieve their particular aesthetic and epistemological objectives.After an initial chapter on the relevant theoretical and national considerations, the prodigious cloacal visions of Beckett and Joyce are compared, with emphasis on their use of the grotesque to demythologize the creative process. A fourth chapter compares O'Brien's and Beckett's exploitation of the grotesque to undermine hegemonic philosophical and epistemological systems.
Like most writers of the grotesque tradition, Joyce and O'Brien assume a degree of moral responsibility by affirming, explicitly or implicitly, some traditional or utopian values and standards, while Beckett's deliberations on the complex relationship between Nature, the mind and the body end in negation, impotence and the hope of silence.
37
Love, Damian. "Samuel Beckett and the art of madness." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415352.
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38
Wilkinson, Judith. "Uncovering the legacy : Samuel Beckett : artist + curator." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/7408/.
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Gribben, Darren. "Samuel Beckett and the oral-aural contract." Thesis, University of Ulster, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414092.
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Oh, Youn-Eung. "Etude dramaturgique du théâtre de Samuel Beckett." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37617155t.
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Santos, Adriana Maria dos. "Disability ou Samuel Beckett e a pintura." Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/653.
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Esta pesquisa parte do texto de autoria do escritor irlandês Samuel Beckett acerca da obra dos irmãos Abraham e Gerardus van Velde em meados do século XX. A análise de Beckett sobre esses artistas contém uma gama de conceitos e considerações críticas que fundamentam esta pesquisa teórica sobre pintura e de onde parte a reflexão em torno da representação e dos termos utilizados pelo autor de referência, sendo estes: fracasso, impedimento e desmoronamento. Estes permeiam toda a pesquisa e são pensados na pintura contemporânea com base em dois pintores, Jean Rustin e Margherita Manzelli, nos quais o corpo entendido aqui como corpo transgressor e inominável encontra correspondência nos personagens beckettianos. Esta abordagem é desdobrada pela interlocução com outros autores a fim de chegar-se ao termo Disability e os conceitos de contaminação e monstruoso como condição dentro da arte contemporânea, mais precisamente no teatro e na pintura, que desborda os termos informe, fracasso e impedimento suscitando um olhar ¿mais-além¿ sobre os conceitos elaborados pelo autor de referência.
42
Makki, Ebrahim. "L'expressionnisme dans le theatre de samuel beckett." Paris 4, 1996. http://www.theses.fr/1996PA040105.
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Nulle ecole artistique n'apparait spontanement, ni ne disparait non plus a jamais. Plus encore chacune d'entre elles se construit en reniant les principes fondamentaux de la precedente, tout en conservant cependant certains de ses aspects. C'est a partir de cette constatation que sera construit le systeme qui nous permet de mettre a jour les traces d'expressionnisme dans le theatre de beckett en etudiant bien entendu au prealable, l'apport du theatre symboliste a ces deux formes theatrales. Le corps de cette recherche se compose donc de deux parties distinctes. Au cours de la premiere, traitant du theatre symboliste et de l'expressionnisme dramatique, nous fournissons les materiaux essentiels pour aborder la seconde partie. Dans la seconde, et ce de facon a etayer notre hypothese, nous sommes amenes a presenter des arguments, lesquels resultent de notre etude en detail des sons et des images du theatre de beckettNon of the schools of dramatic arts appears spontaneously, nor disapears for ever. It is generally constructed by denying the principles of a previous school, even though it may keep some of the major elements of that school. On the basis of such an observation the traces of expressionism in beckett's works will be underlined without ignoring the contributions of symbolism to these two forms of theatre. Therefore, the construction of this study is composed of two different sections : in the first section by studying the symbolist and expressionist theatre, we will pave the necessary ways to enter to the second section. In the second section to support our hypothesis, we will put forward arguments which are the results of our detailed study of the sound and image in beckett's theatre
43
OH, KIM YOUN-EUNG. "Etude dramaturgique du theatre de samuel beckett." Angers, 1988. http://www.theses.fr/1988ANGE0006.
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L'etude de la dramaturgie dans le domaine theatral moderne est passionnante : le statut du theatre est assez particulier, il a a la fois une dimension eternelle par son aspect d'oeuvre litteraire, mais aussi une dimension limitee dans le temps et le lieu de sa representation. Il est donc interessant de se pencher sur la dramaturgie de beckett. Nous avons choisi comme sujet de travail "etude dramaturgique du theatre de beckett" afin de voir comment evolue la dimension de l'espace et du temps dans chacune de ses pieces. C'est pourquoi le champ de notre travail se limitera a l'etude des quatre categories dramatiques : le temps, l'espace, le langage et les personnages, en montrant le rapport qui existe entre elles. Beckett a apporte une nouveaute dans le milieu theatral au niveau de sa dramaturgie. Beckett a trouve la forme qui lui convient le mieux et qui est base sur trois principes, a savoir, la forme en echo, la forme repetitive et la forme en triade (parole et silence, mouvement et immobilite, lumiere et obscurtie). Il est interessant pour ma part de constater que ces trois principes se retrouvent egalement dans le theatre oriental et plus precisement dans le theatre noThe study of dramatic art in modern drama is fascinating : the status of the theatre is rather special as it presents both an eternal dimension through his aspect of a literary work but on the other hand a dimension limited in time and the set of the performance. Therefore it's interesting to study beckett's dramatic art. We have chosen "the study of dramatic art in samuel beckett's plays" as our subject for a thesis in order to see how the dimension of space and time develop in each of his plays. That is why the field of our work will be restricted to the study of the four dramatic categories : time, space, language and characters, while showing the relation existing between them. Beckett has brought a novelty in the stage area as regards his dramatic art. He has found the form which suits him best and which is based on three principles, namely : the form with an echo, the repetitive form and the form in triad (word and silence, movement and immobility, light and darkness). It is interesting in my view to notice that these three principles can also be found in the oriental theatre and more precisely in no theatre
44
Gesvret, Guillaume. "Samuel Beckett, plasticité littéraire et modernités artistiques." Paris 7, 2013. http://www.theses.fr/2013PA070064.
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Malgré sa tendance au minimalisme, l'oeuvre littéraire, théâtrale et télévisuelle de Samuel Beckett ouvre un large champ de résonances au sein de l'histoire des représentations. Cette ouverture met en cause le pur domaine littéraire en donnant toute sa valeur à la dimension plastique de l'écriture liée à la tentative d'un « transbordement » des mots hors d'eux mêmes. Entre la crise plastique de la forme littéraire et la crise affectée du sujet qu'elle continue de représenter, l'oeuvre de Beckett fait écho à de nombreux enjeux philosophiques, psychanalytiques et esthétiques propres à la modernité. En donnant à expérimenter des gestes, des visions et des processus figuraux plus insaisissables, au bord des mots, elle interroge à la fois la possibilité d'écrire l'insupportable (et d'y « faire signe », « faire face » ou « faire surface ) et la possibilité de lire et de faire lien sur un mode comparatiste et transdisciplinaire. Entre la littérature et son dehors, l'écriture de Beckett peut donc être mise en rapport avec d'autres territoires esthétiques et d'autres formes parfois génériquement instables : de l'épiphanie littéraire au détail pictural, du tableau vivant à l'installation, en passant par la crise du support au sens pictural et scéniqueIn spite of its tendency towards minimalism, Samuel Beckett's literary, theatrical and televised work resonates far and wide within the history of representations. This opening questions a pure literary domain by giving its value to the plastic dimension of the writing, bound to an attempt to "overflow" the words beyond themselves. Between the plastic crisis in literary form and the affected crises of the subject that it continues to represent, Beckett's worl calls up many issues belonging to modernity in philosophy, psychoanalysis and aesthetics. Given to experimenting with gestures, visions and the more imperceptible figurai processes, at the very edge of words, this work questions both the possibility of writing the unbearable and the possibility of reading and connecting it to the comparative and interdisciplinary mode. Between literature and what lies beyond it, Beckett's writing may therein open onto other aesthetic territories and other generically unstable forms: from literary epiphany to pictorial detail, from the tableau vivant to the installation, from the perspective of the material crises of the pictorial and the scenic
45
Das, Soumitro. "La Trilogie de Samuel Beckett : une étude." Paris 7, 1991. http://www.theses.fr/1991PA070047.
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Notre these se veut une interpretation de la trilogie de samuel beckett, une tentative de determiner le sens de l'oeuvre pour le sujet contemporain que nous sommes. Pour mener ce travail, nous avons choisi de nous situer a un lieu, familier et etrange, qu'est le sujet, puisque ce lieu nous offre l'acces a des disciplines differentes telles que l'anthropologie de la religion, la psychanalyse, etc. , et nous permet de faire une reference a la biographie de l'auteur. Nous avons ete amene, ainsi, a relier le texte a des influences primordiales comme le protestantisme, mais aussi de l'enraciner dans une formation subjective susceptible de nous livrer les ressorts psychologiques - dynamiques et economiques qui l'ont agencee de cette maniere specifique. La triologie est, pour nous, uneoeuvre qui decrit les brillantes peripeties et les aussi brillants impasses de la subjectivite parlante, au niveau le plus profond possible, celui de l'inconscientThis thesis is an interpretation of the trigoly of samuel beckett, an attempt to determine the meaning of the for a modern reader. To this end, we have chosen to place ourselves in a certain perspective, familiar and strange, which is that of the subject. This allows us to refer to disciplines such as the anthropology of religion, psychoanalysis, etc. , as well as the biography of the author. We have been able, thus, to relate the text to such primordial influences such as protestantism, but also to a subjective formation from which we could derive the psychological factors which have shaped the work in this fashion. The trilogy is, for us, a work which speaks of the speaking subject at the deepest level possible, that of the unconscious
46
Lim, Soo-Hyun. "Les Figures du "double" chez Samuel Beckett." Paris 4, 2002. http://www.theses.fr/2001PA040231.
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Signe représentant le doute, l'hétérogénéité et l'altérité du sujet, le double introduit dans les textes littéraires, en général, une relation conflictuelle entre soi-même et l'autre. L'univers de Samuel Beckett est marqué par ce motif du double, de son origine biographique à ses derniers textes. Ecrivain se divisant entre deux mondes, Irlande et France, anglais et français, bref, " moi " et l'autre, Beckett met constamment en cause l'identité du sujet, dans sa vie ainsi que dans son écriture, pour témoigner des surgissements de deux présences contradictoires, à la fois même et différente, d'où résulteront les diverses figures du dédoublement, exprimant et exprimé, percevant et perçu, imaginant et imaginé, créateur et créature, voix et corps : " tout se divise en soi-même ", comme le résume l'un des personnages beckettiens. La rigueur et la spécificité de Beckett résident dans cette quête persistante et permanente du soi, pouvant être qualifiée d'esthétique du doubleThe signifier of doubt, heterogeneousness and otherness of the subject, in literature the double generally introduces a conflictory relationship between the self and the other. The world of Samuel Beckett is marked by the motif of the double, from his personal beginnings to his last texts. A writer divided between two worlds, those of Ireland and France, English and French, in short, " myself " and the other, in his life and writing, Beckett continually calls into quessiton the identity of the subject, testifying to the emergence of two contradictory presences, at once the same and different, which result in the various figurations of doubleness - expresser and expressed, perceiver and perceived, deviser and devised, creator and created, voice and body. Beckett's rigour and particularity lie in this persistent and continual quest after the self, which can be characterised as the aesthetics of the double
47
Leblanc, Évelyne. "Samuel Beckett : étude stylistique du langage dramatique." Paris 12, 1989. http://www.theses.fr/1989PA120056.
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Cette these est l'etude stylistique du langage dramatique a travers les pieces de samuel beckett : en attendant godot. Fin de partie, oh les beaux jours. L'ouvrage de pierre larthomas, le langage dramatique; en determine le cheminement. La premiere partie de cette etude vise a montrer comment samuel beckett detourne de leur finalite conventionnelle les constituants fondamentaux de la communication pour leur donner une expression nouvelle et deroutante. La deuxieme partie definit les differents moyens mis en oeuvre par l'auteur pour preserver, malgre l'apparence, l'efficacite dratique de ses peuvresThe purpose of this thesis is the style study through s. Beckett's works : en attendant godot, fin de partie, oh les beaux jours. The guiding principle can be found in larthomas's the dramatic language. The first part of the work is endeavouring to demonstrate how s. Beckett tries to bypass the end results of basic communication in order to give them a new disconcerting appearance. The second part defines the various means used by the author in order to remain, in spite of their appearance, the dramatic efficiency of his works
48
Engelberts, Matthijs. "Théâtre, récit, Beckett récit scénique, genres et moi chez Beckett et Duras /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2000. http://dare.uva.nl/document/84328.
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McFrederick, Matt. "Staging Beckett : a production history of Samuel Beckett's drama in London (1955-2010)." Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/78067/.
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This study presents the first performance history of Samuel Beckett’s drama in London theatres. The study focuses on a selection of professional productions of Beckett’s dramatic canon and assesses the impact these performances had on London and British theatre cultures between 1955 and 2010. Since the British premiere of Waiting for Godot, Beckett’s oeuvre has been staged across a variety of London theatres and contexts, ranging from the Riverside Studios in Hammersmith to the Theatre Royal Stratford East. The performance histories of Beckett’s plays represent a neglected facet of Beckett studies, but through research undertaken for the Staging Beckett Database – a searchable data model for Beckett performances staged in the UK and Ireland – a broad tradition of staging Beckett in the British Isles has been discovered. Through the support of these records, performance histories, theatre historiography and performance archives, the study shows how Beckett’s drama featured in key London theatres during prominent moments in British theatre history in a series of landmark and lesser known productions and seasons. By means of a chronological structure, this account examines the factors that contributed to Beckett’s role in metropolitan theatre cultures, discussing how his theatre was created and received and the legacies or significance of his drama on the city’s theatrical landscape. Beckett’s evolving stature and the multifunctional role he played in London theatre cultures is reflected in the four chapters that investigate the history. Chapters one and two reveal the key partnerships he established in theatres such as the English Stage Company at the Royal Court and the National Theatre, and the eclectic range of performances from the international productions during the World Theatre Seasons to the multiple presentations of his drama for young theatregoers at the newly started Young Vic. Chapter three examines the development of Beckett’s practice through some of his last productions staged or rehearsed at the Royal Court, Riverside Studios and the National Theatre. The final chapter discusses performances post-Beckett, when his drama proliferated across London, from West End productions with star actors to Festivals celebrating his entire canon.
50
Kunkel, Michael. ""...dire cela, sans savoir quoi..." : Samuel Beckett in der Musik von György Kurtág und Heinz Holliger /." [S.l.] : [s.n.], 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783897273948.
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