Beyond Minimalism: Beckett's Late Style in the Theater
Oxford University Press, 27.12.1990 - 224 Seiten
Beyond Minimalism explores Beckett's drama of the '70s and '80s, examining the ways in which play text and performance merge through the playwright's poetic idiom. Beginning with Not I and continuing through Catastrophe and What Where, Brater examines the plays not only as texts but also as theater pieces. Discussing the technical and aesthetic demands that productions like Footfalls and Rockaby make on actor, director, and spectator, Brater clarifies the essential relationship between Beckett's achievement in the context of the breakdown of genre, performance poetry, and the electronic intrusion of the recorded voice as a new theatrical convention. In the course of his analysis Brater demonstrates how Beckett's late style in the theater both continues and clarifies the dramatic lyricism that is the hallmark of earlier works such as Endgame and Waiting for Godot.
Was andere dazu sagen - Rezension schreiben
Es wurden keine Rezensionen gefunden.
Andere Ausgaben - Alle anzeigen
action actor actress Alan Schneider Asmus audience Auditor Beck Beckett Plays Beckett’s late becomes Billie Whitelaw camera Catastrophe character close-up clouds Clov curtain dark dialogue dramatic dream Eh Joe Endgame Esslin face fades faint Fehsenfeld fiction figure Film finally Footfalls gesture Ghost Trio Gontarski Hamm Happy Days head hear human Jim Lewis Joyce Keaton Knowlson Krapp's Last Tape language light lines Listener look lyrical Malone Malone Dies Martin Esslin May’s mother Mouth movement Nacht und Träume narrative never night offstage Ohio Impromptu once onstage opening Pause performance Piece of Monologue play’s players playwright poem poetic poetry production protagonist Quad recited Rehearsal Notes Rockaby rocking Rooney Samuel Beckett scene screen script shot silence sound speak Speaker speech stage directions stage space story television theater theatrical verbal visual voice Waiting for Godot Winnie woman words Yeats York
Seite 46 - And whosoever shall offend one of these little ones that believe in me, it is better for him that a millstone were hanged about his neck, and he were cast into the sea.
Seite 50 - Those masterful images because complete Grew in pure mind, but out of what began? A mound of refuse or the sweepings of a street, Old kettles, old bottles, and a broken can, Old iron, old bones, old rags, that raving slut Who keeps the till. Now that my ladder's gone, I must lie down where all the ladders start, In the foul rag-and-bone shop of the heart.
Seite 97 - Does the imagination dwell the most Upon a woman won or a woman lost? If on the lost, admit you turned aside From a great labyrinth out of pride, Cowardice, some silly over-subtle thought Or anything called conscience once; And that if memory recur, the sun's Under eclipse and the day blotted out.
Seite 53 - Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden.
Seite 116 - Suck was a queer word. The fellow called Simon Moonan that name because Simon Moonan used to tie the prefect's false sleeves behind his back and the prefect used to let on to be angry. But the sound was ugly. Once he had washed his hands in the lavatory of the Wicklow Hotel and his father pulled the stopper up by the chain after and the dirty water went down through the hole in the basin. And when it had all gone down slowly the hole in the basin had made a sound like that: suck. Only louder.
Seite 101 - My nerves are bad tonight. Yes, bad. Stay with me. "Speak to me. Why do you never speak. Speak. "What are you thinking of? What thinking? What? "I never know what you are thinking. Think.
Seite 15 - What's she doing? he says — What's the idea he says — stuck up to her diddies in the bleeding ground — coarse fellow — What does it mean? he says — What's it meant to mean? — and so on — lot more stuff like that — usual drivel — Do you hear me? he says — I do, she says, God help me — What do you mean, he says, God help you? (Stops filing, raises head, gazes front.) And you, she says, what's the idea of you, she says, what are you meant to mean?
Seite 106 - All that man is, All mere complexities, The fury and the mire of human veins. Before me floats an image, man or shade, Shade more than man, more image than a shade; 10 For Hades...
Seite 153 - Producers don't seem to have any sense of form in movement. The kind of form one finds in music, for instance, where themes keep recurring. When, in a text, actions are repeated, they ought to be made unusual the first time, so that when they happen again — in exactly the same way — an audience will recognize them from before.