Description
Book SynopsisTrish McTighe is a Postdoctoral Research Assistant at the University of Reading, UK. She is the author of
The Haptic Aesthetic in Samuel Beckett's Drama (2013), and has published in several international journals on aesthetics, corporeality and technology in performance.
David Tucker is a Postdoctoral Researcher at the University of Chester, UK. He is the author of a number of publications on Beckett, including
Samuel Beckett and Arnold Geulincx: Tracing a literary fantasia' (Bloomsbury, 2012), and is co-editor with Mark Nixon and Dirk Van Hulle of
Samuel Beckett Today/Aujourd'hui, Vol. 26 (2014): Revisiting Molloy, Malone muert/Malone Dies and L'Innommable/The Unnamable'.
Table of ContentsAcknowledgements Information on Contributors Foreword, James Knowlson Introduction, David Tucker and Trish McTighe Section 1: Origins, Theatres, Directors 1. The Arrival of
Godot: Beckett, British Theatre and the 1950s, by David Pattie 2. Beckett at the Royal Court, by S.E. Gontarski 3. Beckett at the Riverside Studios, by Matthew McFrederick, 4. Beckett at The West Yorkshire Playhouse, by Mark Taylor-Batty 5. Beckett in London’s West End, by John Stokes 6. Beckett and Peter Hall, by Sos Eltis Section 2: Productions, Locations, Legacies 7. A Production History of
Krapp’s Last Tape in the UK, by Andrew Head 8. Staging Beckett’s Shorts, by Derval Tubridy 9. Talawa’s
Waiting for Godot, by Kene Igweonu 10. Mindscapes Amongst Thistle: Producing Samuel Beckett’s Plays in Scotland, by Ksenija Horvat 11. Beckett Goes Nude:
Breath,
Oh! Calcutta! and the Sexual Revolution, Graham Saunders 12. ‘That first last look in the shadows’: Beckett’s Legacies for Harold Pinter, David Tucker Endnotes Bibliography Index
