The Spring 2018 Issue of The Beckett Circle Is Now Available Online

Inside This Issue

Authorised Beckett biographer James Knowlson shares previously unpublished insights into Beckett’s most famous play; Michael Coffey reviews two distinctive Beckett productions in New York City; Gabriel Quigley sits down with the artistic director of Company SJ, Sarah Jane Scaife; Rhys Tranter asks Beckett scholar Paul Stewart about his decision to appear in a production of Krapp’s Last Tape; and much more

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Transdisciplinary Beckett: 4th Samuel Beckett Society Annual Conference, 2018

The Fourth Beckett Society Conference will take place in Mexico City, on 7-10 November 2018. ‘Transdisciplinary Beckett’ is especially interested in recognising the role that radio, television, theatre, music, the arts, sciences, and technologies play in Beckett Studies.

Samuel Beckett is a precursor in the creation of transdisciplinary works. He travelled between languages [English-French-German], genres [narrative, poetry, theatre, essay], and media [radio, television, cinema]. His work has been studied and applied across different perspectives and disciplines, ranging from literature, philosophy, and media, to political sciences, music, and contemporary art practices. Carrying out a transdisciplinary approach allows us to re-conceptualize Beckett as an author who found in different technologies and electronic languages new ways to think about our present time.

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The Beckett Circle (Autumn 2017)

Inside the latest issue: Authorised Beckett biographer James Knowlson shares previously unpublished insights into Beckett’s busy routine; Rodney Sharkey recounts his time collaborating with prison inmates on Endgame and Waiting for Godot; Hannah Simpson talks to actress Jess Thom about her recent production of Not I, where Thom reflects on how her experiences with Tourette’s syndrome inform her performance as Mouth;  Jonathan Heron pays tribute to the late Rosemary Pountney with an account of the End/Lessness project; Zoe Gosling attends an innovative performance and panel centring on the late prose text, Company; and Derval Tubridy attends an evening of Beckett and contemporary art hosted by The Wallace Collection.

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