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MADNESS IN THE METHOD: Re-visions of Eh Joe in Recent Productions Graley Herren Abstract Beckett's performance specifications are exacting for directors and performers, but within his carefully constructed frameworks lie numerous opportunities for creativity. In this article I look at three

In: Samuel Beckett Today / Aujourd'hui
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Mourning Becomes Electric: Mediating Loss in Eh Joe Graley Herren distort, or imaginatively overcome loss. These artistic concerns are particularly of recording reproduce the fantasy of conjuring the absent loved one back from the dead and restoring her presence. ltimately

In: Samuel Beckett and Pain

1 Introduction The television play, Eh Joe , first recorded in 1966, was first broadcast by BBC2 with Jack MacGowran as Joe, and Sian Phillips as Voice. At least thirteen versions of this play have been preserved on tape making it Beckett’s most reproduced teleplay. Eh Joe is practically staged

In: What Happened? Re-presenting Traumas, Uncovering Recoveries
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Colin Gardner SAMUEL BECKETT’S ‘PEEPHOLE’ VENUS Re-Sexualization, The Oral Mother, and the Masochist Contract in Eh Joe, Ghost Trio, and …but the clouds…1 In Coldness and Cruelty, his seminal essay on Leopold von Sacher-Masoch’s Venus in Furs, Gilles Deleuze outlines three different sexual

In: Venus as Muse
In: Samuel Beckett and Pain

This article addresses the medial identity of Beckett’s first original drama for television, Eh Joe (1966), through a historically-informed study of its conception, production and reception. It extends ideas that I have introduced elsewhere (Bignell 2009), arguing that there are tensions in

In: Samuel Beckett Today / Aujourd'hui
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THE SPECTRAL LOGIC OF EH JOE/DIS JOE: from Reception to Genesis and Back Pascale Sardin In the wake of Jacques Derrida’s work on the television medium, this paper investigates the structural self-reflexiveness of Beckett’s bilingual TV play Eh Joe/Dis Joe. Based on a close

In: Samuel Beckett Today / Aujourd'hui
A Collection of Critical Essays on Samuel Beckett’s Film and Television Plays
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institutions for the remaining, unassigned, rights. The detail of how these processes worked (and often failed to work Eh Joe: Televising an Original Script to 1966, as I discuss below, it may be helpful to give an account of the impact of copyright on commissioning this original drama before delving

In: Samuel Beckett Today / Aujourd'hui