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\u2019s work in tandem with and through arts practices with which it has no obvious link. On Beckett traces the significance of Beckett\u2019s figuring of other arts in his writing, and the attractions of even his \u2018nondramatic\u2019 texts to performance makers. It maps the Beckett-like undercurrents in contemporary practices and the myriad ways in which aspects of his work \u2013 the use of language, images, forms, patterns, sounds, movement, themes, processes, and ideas: any or all of these \u2013 continue to provoke artists into new actions.<\/p>\n
<\/p>\n
Editorial
\nCatherine Laws
\npp. 1 – 4
\nSounding Spaces: Aurality in Samuel Beckett, Janet Cardiff and Bruce Nauman
\nDerval Turbridy
\npp. 5 – 11
\nExpanding Text
\nMiguel Silva
\npp. 12 – 19
\nA 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
\nEfrosini Patapapa
\npp. 20 – 34
\nSome Slow Going: Considering Beckett and Goat Island
\nSara Jane Bailes
\npp. 35 – 49
\nABQ – From Quad to Zero: Mathematical and choreographic processes – between number and not number
\nAlessandro Carboni
\npp. 50 – 56
\nMutated Bodies: Stage performances of Beckett’s late prose texts by Mabou Mines (1984) and Gare St. Lazare Players, Ireland (2005)
\nAnna McMullan
\npp. 57 – 65
\nAbject Bodies: Beckett, Orlan, Stelarc and the politics of contemporary performance
\nKathy Smith
\npp. 66 – 76
\nAfter the Fall: The performative art of Samuel Beckett and Bas Jan Ader [artist’s pages]
\nJudith Wilkinson
\npp. 77 – 85
\nDrawing on Beckett
\nBill Prosser
\npp. 86 – 93
\nBeckett and Warhol, Under the Eye of God
\nSimon Jones
\npp. 94 – 102
\nThere is a Table
\nAlan Reed
\npp. 103 – 107
\nTexts for Nothing, But Cut-Up [artist’s pages]
\nNico Vassilakis
\npp. 108 – 109
\nPerforming Beckett as an Intercultural Actor
\nV\u00edctor Manuel Ram\u00edrez Ladr\u00f3n de Guevara
\npp. 110 – 119
\nDrypoints June 2005\/Beckett Moves [artist’s pages]
\nLinda Karshan
\npp. 120 – 123
\nSam’s Shambles: Beckett’s piano-pedalling technique
\nThomas Mansell
\npp. 124 – 137
\nBeckett and Schubert
\nNoel Witts
\npp. 138 – 144
\nFor S.B’ [artist’s pages]
\nAndy Black
\npp. 145 – 148
\nNotes on Contributors
\npp. 149 – 150<\/p>\n\n\n