All That Fall And Other Plays For Radio And Screen

This new edition brings together all of Beckett's dramatic writings for radio, television and film, offering works which range from eloquent comic naturalism to an eviscerated and pared-down symbolism. Above all, Beckett found his unique uses for the radio-play, a medium 'for voices not bodies', compacted of speech, sound and silence - and the plays in this volume intently explore the resources and limits of the sound-stage.My father, back from the dead, to be with me. (Pause.) As if he hadn't died. (Pause.) No, simply back from the dead, to be with me, in this strange place. (Pause.) Can he hear me? (Pause.) Yes, he must hear me. (Pause.) To answer me? (Pause.) No, he doesn't answer me. (Pause.) Just be with me. (Pause.) That sound you hear is the sea. (Pause. Louder.) I say that sound you hear is the sea, we are sitting on the strand. (Pause.) I mention it because the sound is so strange, so unlike the sound of the sea, that if you didn't see what it was you wouldn't know what it was. (Pause.). Hooves!Contents: All That Fall, Embers, Words and Music, Eh Joe, Quad, Film, ...but the clouds..., Ghost Trio, Nacht und Träume, Rough for Radio I, Rough for Radio II, Cascando, The Old TunePreface and Notes by Everett Frost

"How can literature enhance, parallel or reassess the scientific study of the mind? Or is literature instead limited to the ancillary role of representing cognitive processes? Beckett and the Cognitive Method argues that Beckett's narrative work, rather than just expressing or rendering cognition and mental states, inaugurates an exploratory use of narrative as an introspective modeling technology (defined as "introspection by simulation"). Through a detailed analysis of Beckett's entire corpus and published volumes of letters, the book argues that Beckett pioneered a new method of writing to construct (in a mode analogous to scientific inquiry) "models" for the exploration of core laws, processes and dynamics in the human mind. Marco Bernini integrates models, problems and interpretive frameworks from contemporary narrative theory, cognitive sciences, phenomenology, and philosophy of mind to make a case for Beckett's modeling practice of a vast array of processes including: the (narrative) illusion of a sense of self, the hallucinatory quality of inner speech, the dialogic interaction with memories and felt presences, the synesthetic nature of inner experience and mental imagery, the developmental cooperation of language and locomotion, the role of moods and emotions as cognitive drives, the layered complexity of the mind and the emergent quality of consciousness. Beckett and the Cognitive Method also reflects on how Beckett's "fictional cognitive models" are transformed into reading, auditory or spectatorial experiences generating through narrative devices insights on which the sciences can only discursively or descriptively report. As such, the study advocates for their relevance to the contemporary scientific debate towards an interdisciplinary co-modeling of cognition"--

Beckett’s Late Stage reexamines the Nobel laureate’s post-war prose and drama in the light of contemporary trauma theory. Through a series of sustained close-readings, the study demonstrates how the comings and goings of Beckett’s prose unsettles the Western philosophical tradition; it reveals how Beckett’s live theatrical productions are haunted by the rehearsal of traumatic repetition, and asks what his ghostly radio recordings might signal for twentieth-century modernity. Drawing from psychoanalytic and poststructuralist traditions, Beckett’s Late Stage explores how the traumatic symptom allows us to rethink the relationship between language, meaning, and identity after 1945.

Beckett’s Voices / Voicing Beckett uses ‘voice’ as a prism to investigate Samuel Beckett’s work across a range of texts, genres, and cultures. Twenty-one international contributors evaluate Beckett’s contemporary artistic legacy in relation to music, media, performance, and philosophy.

Krapp's Last Tape was first performed by Patrick Magee at the Royal Court Theatre in October 1958, and described as 'a solo, if that is the word, for one voice and two organs: one human, one mechanical. It fills few pages. It is perhaps the most original and important play of its length ever written.' (Roy Walker) The present volume brings together Krapp's Last Tape and Beckett's other shorter works or 'dramaticules' written for the stage. It will be complemented by a forthcoming Faber edition of dramatic works written for radio and screen. Arranged in chronological order of composition, these shorter plays exhibit the laconic means and compassionate ends of Beckett's dramatic vision. KRAPP 'Here I end this reel. Box - [ Pause.] - three, spool - [ Pause.] - five. [ Pause.] Perhaps my best years have gone. When there was a chance of happiness. But I wouldn't want them back. Not with the fire in me now. No, I wouldn't want them back. [ Staring motionless before him.]

The 35 new and original chapters in this Companion capture the continued vitality of Beckett studies in drama, music and the visual arts and establish rich and varied cultural contexts for BeckettOCOs work world-wide. As well as considering topics such as Beckett and science, historiography, geocriticism and philosophy, the volume focuses on the post-centenary impetus within Beckett studies, emphasising a return to primary sources amid letters, drafts, and other documents. Major Beckett critics such as Steven Connor, David Lloyd, Andrew Gibson, John Pilling, Jean-Michel Rabat(r), and Mark Nixon, as well as emerging researchers, present the latest critical thinking in 9 key areas: Art & Aesthetics; Fictions; European Context; Irish Context; Film, Radio & Television; Language/Writing; Philosophies; Theatre & Performance; Global Beckett. Edited by eminent Beckett scholar S. E. Gontarski, the Companion draws on the most vital, ground-breaking research to outline the nature of Beckett studies for the next generation."e;

A landmark collection showcasing the diversity of Samuel Beckett's creative output The 35 original chapters in this Companion capture the continued vitality of Beckett studies in drama, music and the visual arts and establish rich and varied cultural contexts for Beckett's work world-wide. As well as considering topics such as Beckett and science, historiography, geocriticism and philosophy, the volume focuses on the post-centenary impetus within Beckett studies, emphasising a return to primary sources amid letters, drafts, and other documents. Major Beckett critics such as Steven Connor, David Lloyd, Andrew Gibson, John Pilling, Jean-Michel Rabate, and Mark Nixon, as well as emerging researchers, present the latest critical thinking in 9 key areas: Art & Aesthetics; The Body; Fiction; Film, Radio & Television; Global Beckett; Language / Writing; Philosophy; Reading; and Theatre & Performance. Edited by eminent Beckett scholar S. E. Gontarski, the Companion draws on the most vital, ground-breaking research to outline the nature of Beckett studies for the next generation.