“This issue covers performances in the US (among them the Happy Days Renaissance Theaterworks production in downtown Milwaukee and Richard Sullivan Jr.’s Waiting for Godot in Providence, RI), Australia (Mark Byron reviews the Red Line Productions’ staging of Krapp’s Last Tape at the Old Fitz Theatre in Sydney), London, Paris and Dublin. We have rich resources to rethink the Beckett oeuvre in the context of contemporary music, as the Farmleigh Music and Arts festival and the What is the Word… concert organised by Benjamin Dwyer at the Centre Culturel Irlandaise in Paris show. A panel on the Battle of Ideas Festival at the Barbican, the role played by Beckett in shaping the “Fail Better” series of the Poet in the City at Wilton’s Music Hall in London, and an account of number of symposia keep demonstrating Beckett’s continuous cultural importance…”
— Extract from the joint President’s Address from Daniela Caselli (sitting president) and Laura Salisbury (president elect).
For a limited period, the publisher ASP is offering 3 for the price of 2 on their range of companion volumes to modules in the Beckett Digital Manuscript Project. At present, there are eight titles in this series and have proved to be invaluable for all those engaging with the project. To avail of the…
Corresponding with Samuel Beckett is an edition of critical essays that forms a major intervention in key debates on the use of Nobel prize winning author Samuel Beckett’s correspondence in literary and cultural studies and in the digital humanities.
What does it mean to correspond with Beckett? How does Beckett’s correspondence give us insight into the work? In what ways are critical reading and writing a form of correspondence with an author? The publication of the fourth and final volume of The Letters of Samuel Beckett marks an appropriate moment to take stock of the role of autobiography in research, and the importance of the epistolary in literary studies. Corresponding with Samuel Beckett examines issues around the development of the grey archive, the use of digital resources, translation, visual metadata, and the role of corollary correspondence. Given Beckett’s hesitation to render the personal public, the book examines what is at stake in negotiating issues of privacy, permissions, and copyright. The book generates new thinking on the letter as artefact, and the textual and stylistic aspects of the epistolary. It explores the legacy of a correspondence project and how the research that underpins it can be deployed for further research. Using literary correspondence and related materials raises older literary questions on authorial intention and reading methodologies that continue to inform literary analysis. In the age of twitter, snapchat and whatsapp correspondence is primarily digital: the edition will question the longevity of contemporary digital correspondence, and explore strategies for future engagement with the epistolary in literary research.
In March 2020 Inga Zhghenti’s translation of Waiting for Godot received critical acclaim as the first Georgian translation of Beckett’s play (from the English text). The translation has been uploaded to the Internet Archive of Georgian Theatre, and is available here. Zhghenti is currently an associate professor at East European University and an invited lecturer at Caucasus University.
Announcement: “In response to the current pandemic, we have postponed our annual conference (Bordeaux) to 2021. Details of future events will be circulated once we have a clearer idea of how things will develop in the next few months.”
A one-day colloquium in honour of Rosemary Pountney is to be held in Jesus College, Oxford on March 26 to coincide with the launch of the new series ‘Elements in Beckett Studies’ from Cambridge University Press. The speakers, drawn from the series’ authors, will include Anna McMullan , Jonathon Heron and Nicholas Johnson, Olga Beloborodova,…
The Samuel Beckett Society and Bordeaux Montaigne University are pleased to announce that we will offer 4 ‘Ruby Cohn Travel Bursaries’ of the value of £300 each to Early Career Researchers wishing to attend the annual conference in Bordeaux in May 2020.
The latest volume in the Beckett Digital Manuscript Project series, written by Olga Beloborodova, has just been released by Bloomsbury / UPA. It discusses the genesis of Beckett’s short play Play / Comédie and his only film Film. Written around the same time (1962-1963), the two works have self- referential titles that invite meditation on…
If you join the Samuel Beckett Society with a one-year subscription any time between now and April 2020, you will receive up to three months of free access to the Society’s exclusive content. This offer ends in April 2020.
Our new issue of The Beckett Circle is extremely rich. Professor Jim Knowlson talks to the well-known British actor David Neilson about the very different fates of two of Beckett’s most famous manuscripts: Murphy and Waiting for Godot. I had the great pleasure of seeing David Neilson act in Endgame here in Manchester, and the Society is delighted to host this dialogue. The ‘Happy Days: Enniskillen International Beckett Festival’ of 2019 takes centre stage in our issue. In its seventh edition under the guidance of Artistic Director Sean Doran, it has offered a rich programme: in this issue, Feargal Whelan’s interviews Clara Simpson’s bilingual production of Pas Moiand Not I, and Emma Keanie reviews her performance – both will speak to those among us interested in translation not only on the page but also on stage. Brenda O’Connell and Sean Walsh review what sounds like a spectacular interpretation of Come and Go, Catastrophe, and Quad by the Mark Morris Dance Group. I’d like to draw your attention also to Sheila Mannix’s review of How It Is (Part 2) by Gare St Lazare Ireland at The Everyman in Cork.