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My paper focuses on the problems involved in adapting Embers for the stage. I discussed Katie Mitchell's recent production of this text with her, and learned that (i) the Beckett Estate would not allow her to make any changes to the play, and that (ii) Mitchell also felt that the play would be extremely difficult totranslate into stage imagery.

My article deals with both of these issues: in the first place with the difficulties involving the kind of strictures the Beckett Estate are like1y to place in the way of anyone wishing to adapt work by Beckett; in the second place I will be looking at the perfectly valid point on which the Estate view, of course, rests: that Beckett is working, with each play, within a very specific medium, and shifting from one to another is a hazardous and also a very questionable procedure.

Samuel Beckett Today / Aujourd'hui

A Bilingual Review / Revue Bilingue


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