Beckett’s Voices / Voicing Beckett

Description

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. Contents Preface and Acknowledgements Figures Notes on Contributors `All the dead voices': Introduction Listening to the Inner Voice in Watt: Innovations in Narrative Form Part 1: Musicality of Voices Sound Matters in Beckett Revealing the Limit of Language in Relation to Music Embers: A Polyphonic Piece for Radio Part 2: Voices of an Absent Other Samuel Beckett, Quickening the `dead voices': From Waiting for Godot to That Time Scratching the Surface: The Dramaturgical Oxymoron in Beckett's Silences Why Is `Listener' Named `Souvenant'? The Role of the Spectator in a Bilingual Reading of That Time/Cette fois Un-bodied Voices, the Thing Itself and Beckett's Neural Theatre Part 3: Voices of the Vulnerable Pacing as Repressed Memory of Embodiment and Enactment in Footfalls `Rock her off': The Paradoxical Tension of the Split Voice in Rockaby Technology and the Voices of the More than Human in Beckett's All That Fall A Creamy Work: Schiller and Beckett Part 4: Cinematic Voices Filmic Perspectives in Speaker's Narrative of A Piece of Monologue Cinematic Adaptations of Beckett's Breath Translating Silence: Ashish Avikunthak's Cinematographic Version of Come and Go Part 5: Enacted Voices in Performance and Media Without Colour: Beckett and the Stage Voice Beckett in Performance: The Body of a Beckettian Actor Translating Beckett's Voices in Different Cultures Articulations of Voice and Medium in Beckett's Screen Work All That Fall as a Case Study in the Possibilities and Problematics of Re-routing Samuel Beckett's Radio Plays for Performance in Other Media Bibliography Index