Performing Embodiment in Samuel Beckett's

Fifty years after the premiere of Waiting for Godot (1953), Samuel Beckett has become a global cultural icon. This book will be the first detailed study of Beckett?s staging of the body in his drama for theatre, film, television and radio. Providing an overview of existing scholarship on Beckett and performance, this book will place Beckett?s drama for theatre, film, television and radio in the context of highly contemporary discourses of subjectivity, embodiment, performance and technology.

Acknowledgments	p. ix
Introduction	p. 1
Dehiscent Bodies: From 'Le Kid' to Eleutheria	p. 15
Intercorporeal Performances and the Hauntings of History in Waiting for Godot and Endgame	p. 31
'This visible flesh': Krapp's Last Tape and Happy Days	p. 45
Mimes and Fragments: Corporeal Laboratories	p. 57
Radiophonic Embodiments	p. 67
The Flesh of the Screen and the 'eye of prey': Beckett's Film	p. 81
Unhomely Semblances and the Televisual Matrix	p. 88
The Late Theatre: Performing Traces of Embodiment	p. 105
Mutated Bodies: Stage Performances of Beckett's Late Prose Texts	p. 131
Conclusion: Re-embodying Beckett's Drama in the Twenty-first Century	p. 142
Notes	p. 145
Bibliography	p. 163
Index	p. 177
Table of Contents provided by Ingram. All Rights Reserved.

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Performing Embodiment in Samuel Beckett's Drama

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