The University of Gdańsk will host a parallel seminar and conference from May 18-20 this year and are currently accepting submissions in an open call for papers.
The seminar,Who Wrote Godot?, takes its title from a suggestion by Professor S.E. Gontarski
(Florida State University, USA) who will be in Gdańsk/Sopot to launch his new book Bad Godots: “Vladimir enters from the barrel” and other Interventions, published as part of the Cambridge University Press “Elements in Beckett Studies” series. Quoting from this work, Gontarski poses the question:
“Who, finally, wrote the script for the Waiting for Godot we are reading, or who ‘authored’ the performances we watch? The answer may depend on what one means by such a question, which edition one is holding, say, or how much attention the producer and director (at least) have paid to the script they at least began with before other theatrical professionals – producers, designers, directors, actors, and investors – entered the scene? Some texts of
Beckett’s first produced play were censored, others localized, overtly re-written, and, as published, these remain in circulation, part of the marketplace amid serial reprints and resales. They are seldom withdrawn or destroyed for reasons of corruption or infidelity, and so they remain in circulation, sitting in libraries, school closets and on personal bookshelves to be lent to friends and reused for performances.
The organisers are keen to hear from scholars who are eager to share their current work on Beckett in a variety of (global) contexts. They hope the title might trigger papers and discussions of a variety of works, in a variety of ways, and through a variety of approaches.
Prof Gontarski’s keynote address will be followed by a showing of the films and documentaries in which he hasbeen involved since the early 1980s.
Running in tandem with the seminar is a conference titled The Geography of The Theatre Imagination: British and Irish theatre and drama – contemporary perspectives. The organisers inform us that ‘The conference is about contemporary British and Irish theatre and drama, as well as contemporary takes on classical pieces, and their role in the context of Central Eastern European scholarship. One aim is to discuss those plays and playwrights that are pivotal for the present (post-pandemic?) reality, and another is to examine theatre productions that are of relevance in the geopolitical situation in which we live, including the war in Ukraine. A comparative approach that embraces Central Eastern European perspectives will be central to the conference. The question of the role and status of studies on British and Irish theatre and drama in this part of the world will also be taken into consideration. In addition, it is expected that papers which concentrate on analysis of individual plays and performances will be delivered.’
The closing date for receipt of abstracts of 200 words is 15 March and all submissions should be sent to email@example.com.
Further details, including guest speakers, roundtable participants, and costs are available here