Read e-book online Just Play: Beckett’s Theater PDF

By Ruby Cohn

ISBN-10: 0691064105

ISBN-13: 9780691064109

The writer levels via Beckett's drama to research his method of position, time, soliloquy, fiction, and repetition.

Originally released in 1980.

The Princeton Legacy Library makes use of the newest print-on-demand know-how to back make on hand formerly out-of-print books from the celebrated backlist of Princeton collage Press. those paperback variations safeguard the unique texts of those very important books whereas offering them in sturdy paperback versions. The aim of the Princeton Legacy Library is to significantly elevate entry to the wealthy scholarly background present in the hundreds of thousands of books released through Princeton college Press when you consider that its founding in 1905.

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Extra resources for Just Play: Beckett’s Theater

Sample text

Both lyrics barely hint at places: a face that shines through ashes as once through starlight; a love scene that conjures a dark peace. Cascando is saturated in referential places. Opener speaks only of time—the month of May—but the Voice he opens conducts the fictional Woburn through places of Beckett's fiction—shed, shelter, hollow, cave, boreen, bilge, hills, sea, mud, sand, stones. At the play's end it is Opener who invents the spatial metaphor of "two outings . . an image, like any other" for the Voice and Music we hear.

2 Not only does Beckett stretch the feeling of duration within his plays, but each play seems to open in a time without be­ ginning. Monique Borie observes: AT THIS MOMENT IN TIME 35 Les "encore" et Ies "enfin" qui jalonnent Ie debut des pieces de Beckett donnent au declenchement de la re­ presentation un caractere de temps sans commencement, qui ne devient en quelque sorte spectaculaire que par hasard, et non en vertu d'une radicale nouveaute ou du privilege de la "crise" (comme c'etait Ie cas dans la tradi­ tion classique).

Before we hear her, we see Joe's fear, reflected in place as he draws curtain over window, over door, over cupboard. He looks under the bed, and only then does he begin to relax, but that renders him the more vulnerable to the woman's stiletto-voice. Joe perceives his own past through another's voice. In each play for the visual media Beckett disdains the technical versatility of the medium. There are no flash­ backs to earlier scenes; instead, Beckett gains intensity through close focus. Film plays two camera angles against one another, and Eh Joe zooms in on Joe's face in nine moves of a single camera.

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Just Play: Beckett’s Theater by Ruby Cohn

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