Download Beyond Minimalism: Beckett's Late Style in the Theater by Enoch Brater PDF

By Enoch Brater

Past Minimalism explores Beckett's drama of the '70s and '80s, reading the ways that play textual content and function merge during the playwright's poetic idiom. starting with now not I and carrying on with via disaster and What the place, Brater examines the performs not just as texts but additionally as theater items. Discussing the technical and aesthetic calls for that productions like Footfalls and Rockaby make on actor, director, and spectator, Brater clarifies the basic courting among Beckett's fulfillment within the context of the breakdown of style, functionality poetry, and the digital intrusion of the recorded voice as a brand new theatrical conference. during his research Brater demonstrates how Beckett's overdue kind within the theater either maintains and clarifies the dramatic lyricism that's the hallmark of prior works resembling Endgame and looking ahead to Godot.

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Extra resources for Beyond Minimalism: Beckett's Late Style in the Theater

Example text

So-called . . in the ears . . though of course actually . . not in the ears at all . . in the skull . . dull roar in the skull . . and all the time this ray or beam . . like moonbeam . . but probably not . . certainly not . . always the same spot. . now bright. . now shrouded . . —Not I, p. "2 The Mouth which "stares" at us from the stage, crying out to us from the depths of darkness, is horrifying, like Buster Keaton's "eye" alternately staring and blinking at us in the film. We are frightened by Keaton's "eye," just as Keaton himself recoils from the "eyes" of everything around him—dog, cat, fish, bird, a picture on the wall, the clasps on a manila envelope, the silhouette formed by his Murphy-like rocking chair.

In the skull . . dull roar in the skull . . and all the time this ray or beam . . like moonbeam . . but probably not . . certainly not . . always the same spot. . now bright. . now shrouded . . —Not I, p. "2 The Mouth which "stares" at us from the stage, crying out to us from the depths of darkness, is horrifying, like Buster Keaton's "eye" alternately staring and blinking at us in the film. We are frightened by Keaton's "eye," just as Keaton himself recoils from the "eyes" of everything around him—dog, cat, fish, bird, a picture on the wall, the clasps on a manila envelope, the silhouette formed by his Murphy-like rocking chair.

The "I" in Beckett's Not I is the most minimal dramatic character in Beckett's repertory, the ingenue who, like Godot, fails to make an appearance on the boards before the curtain comes down. But while waiting for this first person singular to arrive, Beckett sets into motion a multidimensional, multimedia extravaganza in which each sensory stimulus has the kinetic potential to stimulate all three sensory organs 36 Beyond Minimalism activated in this play. "37 Balancing the spectacular with the literary, Not I opens up Beckett's theater to the evocation of a new kind of dramatic image, one he will explore with ever-increasing purity in the next play "of the Not I family,"38 That Time.

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