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Tom Cousineau

This paper analyzes against the background of Greek tragedy. I interpret Beckett's professed aim of creating "form in movement" in his own production of the play in relation to the rhythmical movements of a chorus that were a central feature of tragedy. Drawing upon René Girard's non-sacrificial interpretation of the Crucifixion of Christ, I further argue that "nothing happens" in Godot because, unlike a tragedy in which the plague that has descended on Thebes can be blamed on a designated scapegoat, it is a play in which human suffering cannot be alleviated by recourse to magical solutions.

Beckett’s Theater of Punishment

Act without Words I as Panopticon

Michael Palmese

We can understand audience complicity in Act Without Words  I through the correspondences it shares with two crucial demands Foucault ascribes to the ritual of punishment and torture: the first being the need to mark the victim with either a physical stamp that permanently brands, or a public

Beckett on Aging

A Brief Introduction

Rush Rehm

character after character in Beckett’s writing who have failing memories, failing bodies, decreasing capacities, increasing debilities; who demonstrate a growing dependency on habit and daily ritual to survive; who betray a desperate (albeit often suppressed) need for company, companionship, an answering

Anne Madden le Brocquy

Stanislaus. Joyce wore it every year on the day his father died, in an act of commemoration. Sam recounted that Joyce also gave a sum of money to a beggar or a very poor person on that day—“someone old and forsaken.” One year, after Joyce’s death, Giorgio asked him to perform the ritual. Sam found an old man

Hannah Simpson

awarders and recipients in a highly ritualized theater of gestures and countergestures” (English, 5). More specifically, Beckett’s confrontation with the Nobel industry and its repercussions combined both the politics of the institution and an intense aesthetic scrutiny of his written work. As Andrew

Joëlle Chambon

her rituals, her creative use of the future perfect tense (“this will have been another happy day”), and the way her memory works, knitting and unknitting various times. Winnie embodies the power that can come from deprivation and disconnection. Her paradoxical and powerful ‘ability from

Arka Chattopadhyay

question of solitude. Katz uses the recently published letters to delve into Beckett’s specific crisis at the time of writing the novel and develops implicit connections between his earlier psychotherapy with Bion and the composition of How It Is . He studies the rituals of ‘unpleasure’ with significant

Emily Chester

[…] obsessive compulsive” (2015, 181–182), whilst Daniel Katz astutely perceives that “ Watt not only superimposes cultural practice over Cartesian ‘method,’ it also draws the latter into relation with the repetitive personal rituals of obsessional neurotics” (1999, 49). Such acknowledgements, however, have

The Stuff of Performance

Beckett, Theatre Marginalia, and the Archive

David Pattie

avoid the idea that one is part of a ritual (as Sinéad Mooney pointed out in a recent conference paper, delivered at the AHRC -funded Staging Beckett Conference at the University of Reading, 10–11 April 2015). The material, swathed in individual plastic sleeves, is delivered to the researcher in

“It was Things Made Me Weep”

Involuntary Memory in First Love

Russell Smith

attention to Beckett’s constant effacement of feeling, his “affect censorship,” and the relation in Ill Seen Ill Said between pleurs , oeil and intermittences , “between the mourning imagination (the eye), the ritual act of mourning (the tears), and the uncontrollable absence-presence of the lost