Say It The Performative Voice in the Dramatic Works of Samuel Beckett

The personification of voice and how voice as a character relates to other dramatic elements. The relationship between spoken and written voices and the adaptation of a prose work for the stage.

Say It  The Performative Voice in the Dramatic Works of Samuel Beckett

Resumen La investigación se centra en la performative voice en la obra dramática de Beckett. El término performative es usado para abarcar: (a) la intencionalidad de las voces, la voluntad que las lleva a expresarse, y (b) la materialidad de estas voces, como suenan en realidad. Se incluyen en el análisis tanto el discurso dramático como los aspectos técnicos relativos al sonido. El estudio de la performative voice abarca las siguientes áreas: La génesis de la performative voice en las primeras obras de ficción de Beckett. La manera en que la voz es tratada en medios distintos como el teatro, la radio y la televisión. La personificación de la voz y de que manera la voz como personaje está en relación con otros elementos dramáticos. La relación entre voces habladas y escritas y la adaptación de un tipo de prosa específico para el escenario. Abstract The investigation centres on the performative voice in Becketts dramatic oeuvre. The term performative is used to cover: (a) the intentionality of voices, the will that drives them to speak, and (b) the materiality of these voices, how they actually sound. Both dramatic speech and technical aspects of sound reproduction are included in the analysis. The study of the performative voice covers the following areas: The genesis of the performative voice in Becketts early fiction. The way in which voice is treated in the different performance media of the stage, radio and television. The personification of voice and how voice as a character relates to other dramatic elements. The relationship between spoken and written voices and the adaptation of a prose work for the stage.

Still Samuel Beckett s Quietism

You were never. Were you ever? Oh never to have been! Be again (12). As with Becketts comment on his novel series, there is the hope that this voice or substrate of being will not come back, will not have to be again, and yet it seems ...

Still  Samuel Beckett s Quietism

In the 1930s, a young Samuel Beckett confessed to a friend that he had been living his life according to an ‘abject self-referring quietism’. Andy Wimbush argues that ‘quietism’—a philosophical and religious attitude of renunciation and will-lessness—is a key to understanding Beckett’s artistic vision and the development of his career as a fiction writer from his early novels Dream of Fair to Middling Women and Murphy to late short prose texts such as Stirrings Still and Company. Using Beckett’s published and archival material, Still: Samuel Beckett’s Quietism shows how Beckett distilled an understanding of quietism from the work of Arthur Schopenhauer, E.M. Cioran, Thomas à Kempis, Fyodor Dostoevsky, and André Gide, before turning it into an aesthetic that would liberate him from the powerful literary traditions of nineteenth-century realism and early twentieth-century high modernism. Quietism, argues Andy Wimbush, was for Beckett a lifelong preoccupation that shaped his perspectives on art, relationships, ethics, and even notions of salvation. But most of all it showed Beckett a way to renounce authorial power and write from a position of impotence, ignorance, and incoherence so as to produce a new kind of fiction that had, in Molloy’s words, the ‘tranquility of decomposition’.

Beckett Lacan and the Voice

Samuel Beckett: Repetition, Theory and Text [1988]. ... 2, Summer: 25–36 <http://www.limitebeckett.parissorbonne.fr/two/cousineau.html> (accessed 24 April 2015). ... 'Becketts Trilogy on the Third Programme'. SBT/A, no.

Beckett  Lacan  and the Voice

The voice traverses Beckett’s work in its entirety, defining its space and its structure. Emanating from an indeterminate source situated outside the narrators and characters, while permeating the very words they utter, it proves to be incessant. It can alternatively be violently intrusive, or embody a calming presence. Literary creation will be charged with transforming the mortification it inflicts into a vivifying relationship to language. In the exploration undertaken here, Lacanian psychoanalysis offers the means to approach the voice’s multiple and fundamentally paradoxical facets with regards to language that founds the subject’s vital relation to existence. Far from seeking to impose a rigid and purely abstract framework, this study aims to highlight the singularity and complexity of Beckett’s work, and to outline a potentially vast field of investigation.

Beckett Et la Religion

Friedrich Luft , “ Enträtselter Beckett - rätselhaft ” in Die Welt , no . ... Tritte cast : May : Hildegard Schmahl , Woman's Voice : Charlotte Joeres . 46. ... Heinz Grothe , “ Becketts neue Einakter erstaufgeführt ” in Die Tat , no .

Beckett Et la Religion


Beckett s Art of Salvage

Their strong presence should alert us to the affinity between Beckett's writing and a maternal, creative voice that insists ... In Women in Samuel Becketts Prose and Drama (1993), Mary Bryden rather questionably proposes that Beckett's ...

Beckett s Art of Salvage

This innovative exploration of the recurring use of particular objects in Samuel Beckett's work is the first study of the material imagination of any single modern author. Across five decades of aesthetic and formal experimentation in fiction, drama, poetry and film, Beckett made substantial use of only fourteen objects - well-worn not only where they appear within his works but also in terms of their recurrence throughout his creative corpus. In this volume, Bates offers a striking reappraisal of Beckett's writing, with a focus on the changing functions and impact of this set of objects, and charts, chronologically and across media, the pattern of Beckett's distinctive authorial procedure. The volume's identification of the creative praxis that emerges as an 'art of salvage' offers an integrated way of understanding Beckett's writing, opens up new approaches to his work, and offers a fresh assessment of his importance and relevance today.

The Dramatic Works of Samuel Beckett

Critical Quarterly 51 ii 2009 60–78 (focuses on Film and the play) — 'Voice, image, television: Beckett's divided screens'. ... 'Becketts deutsche Stimmen: zur Übersetzung und Vermittlung seiner Werke im deutschsprachigen Raum'.

The Dramatic Works of Samuel Beckett


Beckett s Late Stage

Jonathan Boulters recent Beckett: A Guide for the Perplexed (2008) features similar thematic concerns, addressing the ... Notably, Sarah Wests chapter on Embers, entitled Talking Ghosts, in Say It: The Performative Voice in the Dramatic ...

Beckett   s Late Stage

Beckett’s Late Stage reexamines the Nobel laureate’s post-war prose and drama in the light of contemporary trauma theory. Through a series of sustained close-readings, the study demonstrates how the comings and goings of Beckett’s prose unsettles the Western philosophical tradition; it reveals how Beckett’s live theatrical productions are haunted by the rehearsal of traumatic repetition, and asks what his ghostly radio recordings might signal for twentieth-century modernity. Drawing from psychoanalytic and poststructuralist traditions, Beckett’s Late Stage explores how the traumatic symptom allows us to rethink the relationship between language, meaning, and identity after 1945.

Beckett Lacan and the Voice

The voice traverses Beckett's work in its entirety, defining its space and its structure.

Beckett  Lacan and the Voice

The voice traverses Beckett's work in its entirety, defining its space and its structure. Emanating from an indeterminate source situated outside the narrators and characters, while permeating the very words they utter, it proves to be incessant. It can alternatively be violently intrusive, or embody a calming presence. Literary creation will be charged with transforming the mortification it inflicts into a vivifying relationship to language. In the exploration undertaken here, Lacanian psychoanalysis offers the means to approach the voice's multiple and fundamentally paradoxical facets with regards to language that founds the subject's vital relation to existence. Far from seeking to impose a rigid and purely abstract framework, this study aims to highlight the singularity and complexity of Beckett's work, and to outline a potentially vast field of investigation.

Samuel Beckett and the Terror of Literature

Samuel Beckett and the Terror of Literature addresses the relevance of terror to understanding the violence, the suffering, and the pain experienced by the narrative voices of Beckett's major post-1945 works in prose: The Unnamable, Texts ...

Samuel Beckett and the Terror of Literature

Samuel Beckett and the Terror of Literature addresses the relevance of terror to understanding the violence, the suffering, and the pain experienced by the narrative voices of Beckett's major post-1945 works in prose: The Unnamable, Texts for Nothing, How It Is, Company, Ill Seen Ill Said, and Worstward Ho. Through a sustained dialogue with the theoretical work of Maurice Blanchot, it accomplishes a systematic interrogation of what happens in the space of literature when writing, and first of all Beckett's, encounters the language of terror, thereby giving new significance - ethical, ontological, and political - to what speaks in Beckett's texts.a a

Samuel Beckett as World Literature

The search for a scenic equivalent for this uncertain and tentative voice, moved by a compulsion to fail, ... productions demonstrates how much reinventing Beckett depends on being conscious of A FEW BRAZILIAN BECKETTS ON THE WAY 117.

Samuel Beckett as World Literature

The essays in this collection provide in-depth analyses of Samuel Beckett's major works in the context of his international presence and circulation, particularly the translation, adaptation, appropriation and cultural reciprocation of his oeuvre. A Nobel Prize winner who published and self-translated in both French and English across literary genres, Beckett is recognized on a global scale as a preeminent author and dramatist of the 20th century. Samuel Beckett as World Literature brings together a wide range of international contributors to share their perspectives on Beckett's presence in countries such as China, Japan, Serbia, India and Brazil, among others, and to flesh out Beckett's relationship with postcolonial literatures and his place within the 'canon' of world literature.

Beckett and Ireland

may capitulate to the alien voice. alternatively, it may (more or less violently) resist it. What is important is that the claim of the second voice be recognized as such, as, however reluctantly, Hamm must recognize the existence of ...

Beckett and Ireland

A volume of essays to provide compelling evidence of the continuing relevance of Ireland to Beckett's writing.

Irish Company

Becketts short story First Love starts with the first person pronoun and the selfs perception of the world, ... final part of Becketts trilogy, show that the narrative voice, in spite of being a highly subjective, self-related voice, ...

Irish Company

22 essays and notes on Joyce & Beckett, cycling & walking, Wicklow & Connemara, Molly & Bloom, horses & cattle, trivia & totality, translation & migration, ashplants & annotations, long ways & short cuts, connections & distractions.

Beckett at 100

memory (continued) posture of, in Krapp, 208 reconciliation between Krapp and, 210–212 recorded voice of memory vs. ... 179, 183 Naming Becketts Unnamable (Adelman), 61 narrational self-interruption, 289 narrative voice Agamben on shame ...

Beckett at 100

The year 2006 marked the centenary of the birth of Nobel-Prize winning playwright and novelist Samuel Beckett. To commemorate the occasion, this collection brings together twenty-three leading international Beckett scholars from ten countries, who take on the centenary challenge of "revolving it all": that is, going "back to Beckett"-the title of an earlier study by critic Ruby Cohn, to whom the book is dedicated-in order to rethink traditional readings and theories; provide new contexts and associations; and reassess his impact on the modern imagination and legacy to future generations. These original essays, most first presented by the Samuel Beckett Working Group at the Dublin centenary celebration, are divided into three sections: (1) Thinking through Beckett, (2) Shifting Perspectives, and (3) Echoing Beckett. As repeatedly in his canon, images precede words. The book opens with stills from films of experimental filmmaker Peter Gidal and unpublished excerpts from Beckett's 1936-37 German Travel Diaries, presented by Beckett biographer James Knowlson, with permission from the Beckett estate. Renowned director and theatre theoretician Herbert Blau follows with his personal Beckett "thinking through." Others in Part I explore Beckett and philosophy (Abbott), the influences of Bergson (Gontarski) and Leibniz (Mori), Beckett and autobiography (Locatelli), and Agamben on post-Holocaust testimony (Jones). Essays in Part II recontextualize Beckett's works in relation to iconography (Moorjani), film theoretician Rudolf Arnheim (Engelberts), Marshall McLuhan (Ben-Zvi), exilic writing (McMullan), Pierre Bourdieu's literary field (Siess), romanticism (Brater), social theorists Adorno and Horkheimer (Degani-Raz), and performance issues (Rodr?guez-Gago). Part III relates Beckett's writing to that of Yeats (Okamuro), Paul Auster (Campbell), Caryl Churchill (Diamond), William Saroyan (Bryden), Minoru Betsuyaku and Harold Pinter (Tanaka) and Morton Feldman and Jasper Johns (Laws). Finally, Beckett himself becomes a character in other playwrights' works (Zeifman). Taken together these essays make a clear case for the challenges and rewards of thinking through Beckett in his second century.

To Die For

Somewhere, maybe, Kendall would have documents, a diary, anaddress book, thatwould help me findBeckett. I ripped the place apart. ... of a J. Beckett. There were lots of J. Becketts, the operator said. ... The voice was not Beckett's.

To Die For

A broken city. Joe was a soldier in the British army. Now he's part of the underworld in London's east end. A hunted man. Joe is on the run from Hackney's most vicious gang. He doesn't know why, but they want him dead. A ray of hope. A twelve-year-old girl, a runaway, needs Joe's protection. She'll save his life. But can he save hers?

The New Cambridge Bibliography of English Literature

Voice 7 1962 . Arnold , B. Beckett . Dubliner 3 1964 . A view from the gods . Encore 1o 1963 . Büchler , F. Notizen zum Werk Becketts . Die Neue Play . Encore II 1964 . Rundschau 75 1964 . Morse , M. J. The contemplative life according ...

The New Cambridge Bibliography of English Literature

More than fifty specialists have contributed to this new edition of volume 4 of The Cambridge Bibliography of English Literature. The design of the original work has established itself so firmly as a workable solution to the immense problems of analysis, articulation and coordination that it has been retained in all its essentials for the new edition. The task of the new contributors has been to revise and integrate the lists of 1940 and 1957, to add materials of the following decade, to correct and refine the bibliographical details already available, and to re-shape the whole according to a new series of conventions devised to give greater clarity and consistency to the entries.

Critique of Beckett Criticism

Das Problem der Entfremdung in den Dramen Samuel Becketts . ... “ Der Erzähler im Drama : Versionen des memory play bei Fry , Shaffer , Stoppard und Beckett . ... Beckett and the Voice of 140 Critique of Beckett Criticism.

Critique of Beckett Criticism

A survey of Beckett criticism in English, French and German.

Beckett in Performance

Materialen zu Becketts Warten auf Godot , ed . Hartmut Engelhardt and Dieter Mettler , vol . 2 ( Frankfurt - on - Main : Suhrkamp , 1979 ) . Matousek , Mark , " Schneider on Beckett , Understanding , Differently , " Village Voice ...

Beckett in Performance

A critical look at the work of one of the twentieth century's most influential playwrights emerges from the viewpoint of numerous Beckett actors and directors and includes the author's personal experiences as well.

Beckett Writing Beckett

In this way, both of the Becketts I have featured in this chapter are inseparable components of the same ... This is the same modernist who sustained Beckett's own unmistakable voice as it found its way from one very different piece to ...

Beckett Writing Beckett

Suppose that, before he is writing fiction, before he is writing drama, before he is writing any of the autonomous, highly polished pieces that make up his life work, Beckett is writing Beckett. What follows from this? In Beckett Writing Beckett, H. Porter Abbott argues that, by the time he had written Waiting for Godot, Beckett's art had crystallized as a life project keyed to the simultaneous action of writing and reading the self. How does such an interpretive shift change the way we see the salient features of Beckett's art: his extraordinary and persistent assaults on narrative, his restless exploration of genres and media, his attempts to exercise autocratic control over performance and publication, his increasingly musical formal structures, his tireless capacity to invent? How, moreover, does this view relate to the contempt for autobiography so pervasive in Beckett's work? In approaching these questions, Beckett Writing Beckett seeks to redirect current discussion of such concepts as "the author" and "originality." Arguing on several widely contested fronts in Beckett criticism, including such vexed issues as Beckett's postmodernism, his politics, and his relation to his audience, Abbott develops an interpretive method grounded in the concept of"autographical action." The method allows Abbott to articulate the centrality of the inexhaustible strangeness of Beckett's work, and to do so without robbing that strangeness of its power to surprise.

The Grove Companion to Samuel Beckett

A like the boy Clov sights in Endgame , the double issue of JOBS ( 10.1 and 2 [ 2000 / pacing May of Footfalls , the Voice in 2001 ] ) introduced Other Becketts ( ed . “ Eh Joe , ” Bam in “ What Where , ” and Daniela Caselli , Steven ...

The Grove Companion to Samuel Beckett

From A to Z, this is an indispensable guide to the works, life, and thought of one of the most important writers of our time. The Nobel Prize-winning author Samuel Beckett was a literary treasure, and this work represents the only comprehensive reference to the concepts, characters, and biographical details mentioned by, or related to, Beckett. Painstakingly and lovingly compiled by acclaimed Beckett scholars C. J. Ackerley and S. E. Gontarski, it is alphabetical, cross-referenced, and laid out in a very user-friendly format. The Grove Companion to Samuel Beckett provides an organized trove of information for students and scholars alike, and is a must for any serious reader of Beckett.

Beckett s Dantes

Levy, Eric P., Beckett and the Voice of Species: A Study of the Prose Fiction (Totowa: Barnes & Noble, 1980). ... Neumeister, Sebastian, 'Das allegorische Erbe: zur Wiederkehr Dantes bei Becketts (Le dépeupleur, 1970)', ...

Beckett s Dantes

Beckett's Dantes: Intertextuality in the Fiction and Criticism is the first study in English on the literary relation between Beckett and Dante. It is an innovative reading of Samuel Beckett and Dante's works and a critical engagement with contemporary theories of intertextuality. It is an informative intertextual reading of Beckett's work, detecting previously unknown quotations, allusions to, and parodies of Dante in Beckett's fiction and criticism. The volume interprets Dante in the original Italian (as it appears in Beckett), translating into English all Italian quotations. It benefits from a multilingual approach based on Beckett's published works in English and French, and on manuscripts (which use English, French, German and Italian). Through a close reading of Beckett's fiction and criticism, the book will argue that Dante is both assumed as an external source of literary and cultural authority in Beckett's work, and also participates in Beckett's texts' sceptical undermining of authority. Moreover, the book demonstrates that the many references to various 'Dantes' produce 'Mr Beckett' as the figure of the author responsible for such a remarkably interconnected oeuvre. The book is aimed at the scholarly communities interested in literatures in English, literary and critical theory, comparative literature and theory, French literature and theory and Italian studies. Its jargon-free style will also attract third-year or advanced undergraduate students, and postgraduate students, as well as those readers interested in the unusual relationship between one of the greatest writers of the twentieth century and the medieval author who stands for the very idea of the Western canon.