Fr. 126.00

Samuel Beckett and the Theatre of the Witness - Pain in Post-War Francophone Drama

English · Hardback

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Description

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This study explores Beckett's representation of physical pain in his theatre plays in the long aftermath of World War II, emphasising how the issues raised by this staging of pain speak directly to matters lying at the heart of his work.

List of contents










  • Introduction: 'PAIN PAIN PAIN': Samuel Beckett, World War II, and Francophone Theatre

  • 1: The Indifferent Spectator: Eleutheria and Albert Camus

  • 2: Cruelty, Contagion, and Comedy: Waiting for Godot

  • 3: The Aesthetic of the Anaesthetic: Endgame and Pablo Picasso

  • 4: Transcending Pain, Theatricalising Pain: Happy Days, Play, and Eugène Ionesco

  • 5: Testimony and Trauma: Not I and Marguerite Duras's L'Amante anglaise

  • Conclusion: Breath: Distance, Intimacy, and the Empathic



About the author

Hannah Simpson is the Rosemary Pountney Junior Research Fellow at St Anne's College, University of Oxford. She is also the Theatre Review Editor at The Beckett Circle.

Summary

This study explores Beckett's representation of physical pain in his theatre plays in the long aftermath of World War II, emphasising how the issues raised by this staging of pain speak directly to matters lying at the heart of his work.

Additional text

As a medical humanities and Beckett studies researcher, I believe the book provides innovative and strongly justified concepts of spectatorship that can help understand various nuances of the term.

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