Samuel Beckett

Pattie, David

doi:10.4324/9780203355084

Cited by 4 publications

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“…88 Katherine Worth observes how in some of Beckett's plays walking is a 'painful necessity' 89 as evidenced in the 'short, stiff strides' of Vladimir in Waiting for Godot 90 and the 'stiff, staggering walk' of Clov in Endgame. 91 Beckett himself was a keen walker, a pastime he inherited from his father 92 that eventually became a means for him to combat depression during his spells of illness when he was finding it difficult to write. 93 However, it was the pacing of his mother May that was influential in his later writing of Footfalls.…”

Section: The Epic Flow: Good Soldier Schwejkmentioning

confidence: 99%

Treading the Boards: the Significance of Walking on the Stage

Darby¹

2014

New Theatre Quarterly

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In this article Kris Darby examines the significance of walking on the theatre stage, responding to the growth of pedestrian performance as an area of research. He seeks to provide a point of expansion for a field that is still largely concerned with site-specific works where audiences walk during the performance. Beginning with a discussion of the possible reasons for the neglect of walking on stage, the author addresses the prominence of walking and the journey as a rehearsal tool employed by a wealth of practitioners. As further justification for the inclusion of the stage in pedestrian performance research, a series of historical case studies is presented which spans over a century of theatrical history, and includes an examination of the audience's pilgrimage to Richard Wagner's Parsifal (1882) and the ‘epic flow“ of Erwin Piscator's treadmill in Good Soldier Schwejk (1927). The significance of walking in Samuel Beckett's life is also explored through the ‘inward walking’ of Footfalls (1976), and the proscenium staging of Matthew Earnest's Wanderlust (2010) is made significant through its critique of supermodernity. The author concludes by arguing that an immobile audience can kinaesthetically empathize with the performers, embarking on their own internalized journey within the theatre. Kris Darby is a Post-Doctoral Teaching Fellow in Drama at Liverpool Hope, whose research interests concern the relationship between walking and performance.

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Section: The Epic Flow: Good Soldier Schwejkmentioning

confidence: 99%

Treading the Boards: the Significance of Walking on the Stage

Darby¹

2014

New Theatre Quarterly

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Postcognitivist Beckett

Beloborodova

2020

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The aim of this Element is to offer a reassessment of Beckett's alleged Cartesianism using the theoretical framework of extended cognition – a cluster of present-day philosophical theories that question the mind's brain-bound nature and see cognition primarily as a process of interaction between the human brain and the environment it operates in. The principal argument defended here is that, despite the Cartesian bias introduced by early Beckett scholarship, Beckett's fictional minds are not isolated 'skullscapes'. Instead, they are grounded in interaction with their fictional storyworlds, however impoverished those may have become in the later part of his writing career.

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Beckett: filling the silence

Nelson¹

2015

The Cambridge Introduction to French Literature

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Samuel Beckett

Cited by 4 publications

References 0 publications

Treading the Boards: the Significance of Walking on the Stage

Treading the Boards: the Significance of Walking on the Stage

Postcognitivist Beckett

Beckett: filling the silence

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