Images Of Beckett

Essays by Beckett's biographer and friend and hitherto unknown photographs by one of the leading theatre photographers in the field.

Covers English literature, French literature, and theatre in the 20th century.

This book outlines Beckett's passion for the visual arts as he developed his signature style between the 1930s and 1970s.

Samuel Beckett was perhaps the most unconventional playwright of the twentieth century. His plays broke all the rules by dispensing with traditional concepts of plot, scene, and character, concentrating instead on the experience of the drama itself. An intensely private man, Beckett's work was profoundly influenced by his relationship with his mother and what he called her "savage loving," and by the tensions and hypocrisies of his divided country. In his work, he presents us with our own humanity; the hopelessness and the solitude, the bizarre tragicomedy of life itself. Many of the items collected in this volume have never been published, among them the transcription of a 1938 letter from James Joyce to Beckett's brother Frank, assuring that Beckett was recovering under the Joyce family's care after an unprovoked stabbing by a Paris pimp. Photos from many of Beckett's play productions, his childhood home and family in Dublin, and manuscript pages complement an incisive biography by Beckett scholar Gerry Dukes, providing a unique introduction to the life and work of one of drama's great masters.

Beckett often made use of images from the visual arts and readapted them, staging them in his plays, or using them in his fiction. Anthony Uhlmann sets out to explain how an image differs from other terms, like 'metaphor' or 'representation', and, in the process, to analyse Beckett's use of images borrowed from philosophy and aesthetics. This study, first published in 2006, carefully examines Beckett's thoughts on the image in his literary works and his extensive notes to the philosopher Arnold Geulincx. Uhlmann considers how images might allow one kind of interaction between philosophy and literature, and how Beckett makes use of images which are borrowed from, or drawn into dialogue with, philosophical images from Geulincx, Berkeley, Bergson, and the ancient Stoics. Uhlmann's reading of Beckett's aesthetic and philosophical interests provides a revolutionary reading of the importance of the image in his work.

In contrast to the many critics who consider W. B. Yeats a dominant influence on Beckett's drama, this study demonstrates that the two are almost diametrically opposed in their theater and that the real bridge to Beckett's art is to be found in the narrative and pictorial creations of the younger Yeats brother, Jack.