On a bare road in the middle of nowhere, two world-weary friends await the arrival of the mysterious Godot. While waiting, they speculate, bicker, joke and ponder life’s greater questions. As dusk begins to fall, two figures appear on the horizon.
Regarded as one of the most significant plays of the twentieth century, Waiting for Godot by Samuel Beckett is a masterpiece that draws endless interpretations. Directed by Garry Hynes, Druid present a new production of this seminal work featuring members of the acclaimed Druid Ensemble: Garrett Lombard, Aaron Monaghan, Rory Nolan and Marty Rea.
Over the years, Beckett Studies have undergone multiple transformations: from early existentialist approaches to post-structuralist interventions, to performance-oriented studies, and genetic criticism. The last two decades have seen a surge in scholarship that probes the relations between Beckett and media technologies. This conference brings together some of the leading scholars who have focused on the nexus between Beckett and media while opening its doors to media theorists from outside of Beckett Studies who have a strong interest in his work.
Arcturus Theater Company presents two more Samuel Beckett shorts together as an hour of evening entertainment
Play (1963) involves three lovers caught in a purgatorial love triangle. Rapid-fire, poetic verse conveys the characters’ frustration and desperation to be released from this eternal entrapment. We are proud to be collaborating with the esteemed international artist Rosemary Feit Covey who has provided awe-inspiring backdrops for this show. The actors are Greg Jones Ellis, Margeaux Martine, and Cristen Stephansky.
Play will be followed by a staged reading of the radio play, The Old Tune, Beckett’s 1960 interpretation of Robert Pinget’s play La Manivelle (The Crank). The readers are Kim Curtis and Phil Bufithis.
“Deaf theatre maker Deepa Shastri offers a British Sign Language (BSL) synopsis for the Touretteshero and Battersea Arts Centre production of Samuel Beckett’s Not I. This video has no audio but has captions if required.”
Samuel Beckett, one of the most prominent playwrights of the twentieth century, wrote a thirty-second playlet for the stage that does not include actors, text, characters or drama but only stage directions. Breath (1969) is the focus and the only theatrical text examined in this study, which demonstrates how the piece became emblematic of the interdisciplinary exchanges that occur in Beckett’s later writings, and of the cross-fertilisation of the theatre with the visual arts. The book attends to fifty breath-related artworks (including sculpture, painting, new media, sound art, performance art) and contextualises Beckett’s Breath within the intermedial and high-modernist discourse thereby contributing to the expanding field of intermedial Beckett criticism.
The main theme for the 2018 seminar is Beckett’s Faces: the multifariousness of his artistic, semantic and critical legacy confronted with the specificities of the 21st century humanities, especially literary and theatre studies, arts, and philosophy around the world. The seminar provides ground for discussing Beckett as faced with other artists and thinkers. We are open to proposals that confront Beckett with his contemporaries, or pursue those who are inspired by his work. Tracing the masters of the past that are reflected in his work is yet another option. The form of the seminar should enable us not only to explore similarities and differences between individuals but also to depict broader historical and geographical perspectives. We are particularly interested in unusual frameworks that may contribute to the present understanding of how to contextualize Beckett.
This conference marks the publication of 30 books in the two book series Historicizing Modernism and Modernist Archives with Bloomsbury Academic.
Archival excavation and detailed contextualisation is becoming increasingly central to scholarship on literary modernism. In recent years, the increased – and often online – accessibility and dissemination of previously unpublished or little-known texts has led to paradigm-shifting scholarly interventions across a range of canonical and lesser-known authors, neglected topics, and critical methodologies including genetic criticism, intertextuality, book history, and historical documentation. This trend is only bound to increase as large-scale digitisation of archival materials gathers pace, and existing copyright restrictions gradually lapse.
These two book series have been at the forefront of this burgeoning trend, and this international conference will take stock of these developments. Above all, it will also point forwards, towards future avenues of research. The authors and editorial board members connected with the series will reflect upon the ‘state of the art’ regarding archive-based research within their particular sub-discipline, connecting this to Modernism Studies as a whole. The provisional paper titles listed below reflect their responses to this invitation.
First Love is performed by Marcus Lamb who recently played Bob Cratchit in the feature film The Man who Invented Christmas and Dr. James Oakley in RTÉ’s Fair City. Marcus also enthralled the audience with his performance in The End, last year’s Beckett in Foxrock production.
Beckett in Foxrock 2018 – First Love is the third annual celebration of the Nobel Laureate’s close connection with Foxrock. Samuel Beckett was born and brought up in Brighton Road, just yards from Tullow Church which he attended in the company of his mother. The Foxrock area and many of its residents feature in much of his work.
A press release from Cambridge University Press: Derval Tubridy’s Samuel Beckett and the Language of Subjectivity is the first sustained exploration of aporia as a vital, subversive, and productive figure within Beckett’s writing as it moves between prose and theatre. Informed by key developments in analytic and continental philosophies of language, Tubridy’s fluent analysis demonstrates how Beckett’s translations¬––between languages, genres, bodies, and genders––offer a way out of the impasse outlined in his early aesthetics. The primary modes of the self’s extension into the world are linguistic (speaking, listening) and material (engaging with bodies, spaces and objects).
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.