The essays in this collection were originally delivered as part of the esteemed lecture series at Trinity College Dublin, Samuel Beckett's alma mater. The eminent contributors shed new light on Beckett's enigmatic theater, taking up an engaging array of topics. Included are new perspectives on Beckett's use of language and silence, on his attitudes toward the body, on those who influenced him and on those he has influenced (including Suzan-Lori Parks and Femi Osofisan), and on Beckett and the art of self-collaboration. Each contributor places the playwright into a network of genealogies and legacies and his work into important historical, cultural, and aesthetic contexts. Together, the essays demonstrate Beckett's impact on theater, performance, and visual arts during the latter half of the twentieth century and serve to open up new directions for Beckett studies well into the twenty-first. This is an indispensable volume for anyone interested in Beckett, whether scholar, student, or enthusiast. Anna McMullan is Chair of Drama Studies at Queens University Belfast and author of Theatre on Trial: Samuel Beckett's Later Drama. S. E. Wilmer is Associate Professor of Drama Studies at Trinity College Dublin and author of Theatre, Society and the Nation: Staging American Identities. Illustration: Samuel Beckett at the rehearsal of Waiting for Godot. © Bruce Davidson/Magnum Photos. A volume in the series Theater: Theory/Text/Performance
Keywords: Samuel Beckett, Bertolt Brecht, Mallarme, Suzan Lori Parks, Anglo Irish Literature, Beckett and W.B. Yeats, Beckett and Schopenhauer, Performing Beckett's drama |
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