Beyond Minimalism: Beckett's Late Style in the Theater
Oxford University Press, 27 de des. 1990 - 224 pàgines
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.
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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
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