An excerpt from Mel Gussow’s obituary, published in The New York Times, 27 December 1989:
“Samuel Beckett, a towering figure in drama and fiction who altered the course of contemporary theater, died in Paris on Friday at the age of 83. He died of respiratory problems in a Paris hospital, where he had been moved from a nursing home. He was buried yesterday at the Montparnasse cemetery after a private funeral.
Explaining the secrecy surrounding his illness, hospitalization and death, Irene Lindon, representing the author’s Paris publisher, Editions de Minuit, said it was ‘what he would have wanted.'”
“[A]ny attempt to get a handle on Beckett takes you to into interesting territory—to classical music, Irish history, Continental philosophy, World War II, abstract painting, the French language. For a quiet man his interests were voracious. Beckett scholarship has ranged far beyond those seminal early essays by Maurice Blanchot and Theodor Adorno and the studies by Ruby Cohn and Lawrence Harvey. Now, with James Knowlson’s authorized biography, the recently released four volumes of letters, and the digital manuscript project going on in Antwerp, the study of his works is vibrant all around the world.”
A symposium at Magdalene College, Cambridge, in association with the Cambridge Group for Irish Studies. The distinguished line-up of speakers includes many of the leading figures in Irish studies across several generations, as well as creative writers and actors. While the main focus will be on the two greatest Irish modernist writers, Joyce and Beckett, contributors will also consider other modern Irish writers and the appropriateness or otherwise of “modernism” as a category in poetry, fiction, drama and the visual arts.
The free public event will take place in the 5th floor lecture theatre of The Tavistock Centre, London, on 13 December 2017. This year’s winner is Maryam Ghasemi, a former student of the Tavistock and Portman’s ‘Psychoanalytic Studies’ masters course. Her paper is titled, ‘Rockaby: Eros and Thanatos’, and is a psychoanalytic reading of the short play by Samuel Beckett.
The conference theme of Theatre and Migration is intrinsically linked to questions of mobility and access, as it evokes various performances of borders. As a writer who moved from Ireland to France and wrote in multiple languages, Samuel Beckett’s works manifest the quest for transcending borders linguistically, culturally, artistically, philosophically and politically.
In celebration of the publication of his book Samuel Beckett and Cinema, Anthony Paraskeva introduces Beckett’s Film and a rare screening of Comédie. Tickets for the event are free, but registration is essential.
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.”