This study explores Beckett's representation of physical pain in his theatre plays in the long aftermath of World War II, emphasising how the issues raised by this staging of pain speak directly to matters lying at the heart of his work.
This study explores Beckett's representation of physical pain in his theatre plays in the long aftermath of World War II, emphasising how the issues raised by this staging of pain speak directly to matters lying at the heart of his work.
Hannah Simpson is the Rosemary Pountney Junior Research Fellow at St Anne's College, University of Oxford. She is also the Theatre Review Editor at The Beckett Circle.
Inhaltsangabe
* Introduction: 'PAIN PAIN PAIN': Samuel Beckett World War II and Francophone Theatre * 1: The Indifferent Spectator: Eleutheria and Albert Camus * 2: Cruelty Contagion and Comedy: Waiting for Godot * 3: The Aesthetic of the Anaesthetic: Endgame and Pablo Picasso * 4: Transcending Pain Theatricalising Pain: Happy Days Play and Eugène Ionesco * 5: Testimony and Trauma: Not I and Marguerite Duras's L'Amante anglaise * Conclusion: Breath: Distance Intimacy and the Empathic
* Introduction: 'PAIN PAIN PAIN': Samuel Beckett World War II and Francophone Theatre * 1: The Indifferent Spectator: Eleutheria and Albert Camus * 2: Cruelty Contagion and Comedy: Waiting for Godot * 3: The Aesthetic of the Anaesthetic: Endgame and Pablo Picasso * 4: Transcending Pain Theatricalising Pain: Happy Days Play and Eugène Ionesco * 5: Testimony and Trauma: Not I and Marguerite Duras's L'Amante anglaise * Conclusion: Breath: Distance Intimacy and the Empathic
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