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Full Description
This collection of essays - the first volume in the Dialogue series - brings together new and experienced scholars to present innovative critical approaches to Samuel Beckett's play Endgame. These essays broach a broad range of topics, many of which are inherently controversial and have generated significant levels of debate in the past. Critical readings of the play in relation to music, metaphysics, intertextuality, and time are counterpointed by essays that consider the nature of performance, the history of the theater and the music hall, Beckett's attitudes to directing his play, and his responses to other directors. This collection will be of special interest to Beckett scholars, to students of literature and drama, and to drama theorists and practitioners.
Contents
Mark S. BYRON: Introduction: Endgame--Very Nearly, But Not Quite
Thomas MANSELL: Hard-to-hear Music in Endgame
Colin DUCKWORTH: Re-Evaluating Endgame
Jane E. GATEWOOD: Memory and Its Devices in Endgame
Michael GUEST: Paul Ricoeur and Watching Endgame
Russell SMITH: Endgame's Remainders
Natka BIANCHINI: Bare interiors, chicken wire cages and subway stations—re-thinking Beckett's response to the ART Endgame in light of earlier productions
Antonia Rodríguez GAGO: Transcultural Endgame/s
Mary F. CATANZARO: Masking and the Social Construct of the Body in Beckett's Endgame
Paul SHIELDS: Hamm Stammered: Beckett, Deleuze, and the Atmospheric Stuttering of Endgame
Paul STEWART: But Why Shakespeare? The Muted Role of Dickens in Endgame
Kate DORNEY: Hamming it up in Endgame: A Theatrical Reading
Julie CAMPBELL: Endgame and Performance
Essay Abstracts
About the Authors
Index
