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Full Description
Beckett's Co-authors takes a fresh look at Samuel Beckett and the business of authorship, especially his involvement in the complicated machinery of commercial theatre. Focusing particularly on Beckett's first professionally produced play, Waiting for Godot, and its premieres in the US, UK and the Republic of Ireland, this book examines extra-authorial interventions into the creative process and how such interventions challenges the autonomy of the author and his artwork. Calling the result of these early collaborations 'co-authorship', S. E. Gontarski delves into the hybrid genre of theatre where collective aesthetics tends to override and thus supersede individual creation, using the methodology of archival archaeology to uncover previously unpublished letters and unknown archival documents relating to three national premieres. These case studies nevertheless have implications far beyond a single theatrical work, placing a spotlight on the nature of authorship and the process of realising dramatic texts in a monetised culture.
Contents
List of Figures
Series Editor's Preface
Acknowledgments
Prologue
Note on the Text
1. Overview: A Genealogy of Intervention
2. The Broadway Adepts, or Wilderizing Beckett
3. Godot's Bad Blood: The Tumult in Miami
4. Cutting up Godot
5. Mimeography: Godot and the Uncertainties of Textual Transmission
6. 'Cerebral physiology': Degeneration and the Irrelevance of Godot
7. The Case for Multiple Authorship
Appendix A. Waiting for Godot. Theatre Arts. XL.8 (August 1956): 36-61 (collation)
Appendix B. Peter Snow's Autograph Revisions Collated with the Grove Press edition
Appendix C. Donald Albery's memo to the Lord Chamberlain, 26 April 1954
Appendix D. Known Mimeographed Versions of Waiting for Godot
Relevant Archives
References
Notes
Index
