12.1 On Beckett



Issue editors: Catherine Laws

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SKU: 978-0-415-44158 Category:


Samuel Beckett would have been 100 years old in 2006, and his work continues to provoke creative and theoretical responses in all artistic fields. This influence is deeply rooted and widespread but often subtle and indirect. Furthermore, it can be equally productive to consider Beckett’s work in tandem with and through arts practices with which it has no obvious link. On Beckett traces the significance of Beckett’s figuring of other arts in his writing, and the attractions of even his ‘nondramatic’ texts to performance makers. It maps the Beckett-like undercurrents in contemporary practices and the myriad ways in which aspects of his work – the use of language, images, forms, patterns, sounds, movement, themes, processes, and ideas: any or all of these – continue to provoke artists into new actions.


Catherine Laws
pp. 1 – 4
Sounding Spaces: Aurality in Samuel Beckett, Janet Cardiff and Bruce Nauman
Derval Turbridy
pp. 5 – 11
Expanding Text
Miguel Silva
pp. 12 – 19
A Phantom in Contemporary European Choreography: What is Beckett doing to us dance-makers? Can we do something to him in return? Or, a series of realizations, three instances and an afterthought
Efrosini Patapapa
pp. 20 – 34
Some Slow Going: Considering Beckett and Goat Island
Sara Jane Bailes
pp. 35 – 49
ABQ – From Quad to Zero: Mathematical and choreographic processes – between number and not number
Alessandro Carboni
pp. 50 – 56
Mutated Bodies: Stage performances of Beckett’s late prose texts by Mabou Mines (1984) and Gare St. Lazare Players, Ireland (2005)
Anna McMullan
pp. 57 – 65
Abject Bodies: Beckett, Orlan, Stelarc and the politics of contemporary performance
Kathy Smith
pp. 66 – 76
After the Fall: The performative art of Samuel Beckett and Bas Jan Ader [artist’s pages]
Judith Wilkinson
pp. 77 – 85
Drawing on Beckett
Bill Prosser
pp. 86 – 93
Beckett and Warhol, Under the Eye of God
Simon Jones
pp. 94 – 102
There is a Table
Alan Reed
pp. 103 – 107
Texts for Nothing, But Cut-Up [artist’s pages]
Nico Vassilakis
pp. 108 – 109
Performing Beckett as an Intercultural Actor
Víctor Manuel Ramírez Ladrón de Guevara
pp. 110 – 119
Drypoints June 2005/Beckett Moves [artist’s pages]
Linda Karshan
pp. 120 – 123
Sam’s Shambles: Beckett’s piano-pedalling technique
Thomas Mansell
pp. 124 – 137
Beckett and Schubert
Noel Witts
pp. 138 – 144
For S.B’ [artist’s pages]
Andy Black
pp. 145 – 148
Notes on Contributors
pp. 149 – 150

Additional information

Weight 0.550 kg