University of Reading: “Public events, new creative works, and funded fellowships around the work of Samuel Beckett will all be products of a new research centre dedicated to the Irish novelist, story writer, and playwright.
The Beckett Research Centre brings together academics at the University of Reading to promote world-leading research, teaching and creative projects based around the University’s internationally-recognised Beckett Archive.”
The British Library: “This edition of Waiting for Godot is annotated by Beckett for the San Quentin Drama Workshop’s 1984 production, which Beckett supervised for ten days. The production was rehearsed at London’s Riverside Studios before opening at the Adelaide Arts Festival in Australia and later touring Europe. Directed by Walter Asmus, it starred Cluchey as Pozzo, Lawrence Held as Estragon, Bud Thorpe as Vladimir, J Pat Miller as Lucky and Louis Beckett Cluchey as A Boy.”
‘When it’s coming up to Xmas I get the German fever’, Samuel Beckett wrote to his friend Thomas MacGreevy in 1932. This exhibition examines Beckett’s life-long engagement with German art, literature and language. It sheds light on Beckett’s extensive reading of classical writers such as Goethe, Schiller and Hölderlin, his engagement with German visual artists from Albrecht Dürer to the Expressionists, as well as his observations on the reality within National Socialist Germany. The exhibition also tells the story of his famous productions at the Schiller Theatre in Berlin from the 1960s to the 1980s – in particular of Waiting for Godot (1975) – and his works for television at the Süddeutscher Rundfunk in Stuttgart. Furthermore, the exhibition documents Beckett’s close relationship with his publisher Siegfried Unseld, his German translator Elmar Tophoven and the important role played by the Suhrkamp Verlag in introducing the writer’s work to German readers.
How it would be possible for future writers to formulate the future of literature and literary ‘expression’ after Beckett’s literary revolution? If Beckett introduces a kind of writing that attempts to suspend all talking, all imagination in literary language which opens up literary inventiveness, and at the same time offering an ‘obligation to write’, how we can even think about the possibility of modern literature in the post-Beckett era?
The conference will explore the manifold intersections of technology with Beckett’s oeuvre throughout the years, and will consider their future trajectories. This includes the development of modern technologies in the fields of communication, broadcasting, medicine, and transportation in the beginning of the 20th century and their influence on Beckett’s early writing; his employment of new media such as film, radio, and television; and contemporary uses of digital, medical, and other technologies in new approaches to staging, performing, and interpreting Beckett’s work in various genres and fields.