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The Irish Literary Times
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Endgame – Paradise in the Vault, Edinburgh

Endgame – Paradise in the Vault, Edinburgh | The Irish Literary Times | Scoop.it
Writer: Samuel Beckett Director: Blind Elephant Reviewer: Joanna Trainor Blind Elephant’s production of Endgame is nightmare-ish, claustrophobic and draining; Beckett how if should be.
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Yiddish WAITING FOR GODOT to Open 7th Annual Origin's 1st Irish Festival in ... - Broadway World

Yiddish WAITING FOR GODOT to Open 7th Annual Origin's 1st Irish Festival in ... - Broadway World | The Irish Literary Times | Scoop.it
Yiddish WAITING FOR GODOT to Open 7th Annual Origin's 1st Irish Festival in ...
Broadway World
Beckett, who wrote the play in French and translated the work into English, won the Nobel Prize for Literature in 1969.
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Adrian Dunbar on Samuel Beckett: 'We are the boys of the lough'

Adrian Dunbar on Samuel Beckett: 'We are the boys of the lough' | The Irish Literary Times | Scoop.it
Returning to his hometown of Enniskillen to direct Samuel Beckett's Catastrophe at the Happy Days festival, the Irish actor reflects on the man and the landscape that shaped himIt was 1981 and we all headed down into the dark of the Studio theatre...
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Release Of 'Echo's Bones' Resurrects Beckett's Rejected Work

The story, which is about a man who comes back to life, was meant to be the final piece in Samuel Beckett's first collection of stories. But his original editor refused to publish it.
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Barry McGovern Mesmerizes In "I'll Go On" At Kirk Douglas Theatre | Santa Monica Mirror

Barry McGovern Mesmerizes In "I'll Go On" At Kirk Douglas Theatre | Santa Monica Mirror | The Irish Literary Times | Scoop.it
In an electrifying tour-de-force, Barry McGovern, one of the preeminent interpreters of the works of Samuel Beckett, flooded the Kirk Douglas Theatre ...
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Interview with Lisa Dwan | The White Review

Beckett’s work is often misread as hopeless, something that Lisa and I discuss at length, but the third play,Rockaby, expresses courage in the face of suffering, and, more significantly: death. While the nameless woman yearns for a witness to confirm her existence, just ‘one other living soul’, rocking back and forth at the chair’s own volition, her fading voice cries out ‘More!’ each time it stops, refusing to admit defeat. The play’s narration offers a slow disintegration of consciousness that is prevalent in Beckett’s later work. However, control remains with the woman, as the decision to ‘fuck life’ is hers in the end, dressed in funeral finery and held in the rocking chair’s embrace. With that, we are all returned to the darkness from which we began, from the womb into the tomb.

 

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All That Fall by Beckett, Pan Pan Theatre – review

All That Fall by Beckett, Pan Pan Theatre – review | The Irish Literary Times | Scoop.it
Jane Howard: In the quiet company of strangers, Samuel Beckett's play finds the stillness it needs to be understoodJane Howard
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Close to the bone: getting into Beckett’s headspace

Close to the bone: getting into Beckett’s headspace | The Irish Literary Times | Scoop.it
Pan Pan’s production for stage of a 1959 radio play continues the ‘deregulation’ of the Beckett industry
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Journal of Beckett Studies: ‘The Performance Issue’ | A Piece of Monologue: Modern, Contemporary & Avant-Garde Expression

Journal of Beckett Studies: ‘The Performance Issue’ | A Piece of Monologue: Modern, Contemporary & Avant-Garde Expression | The Irish Literary Times | Scoop.it
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‘Staging Beckett at the Margins’ | three year collaborative research project

‘Staging Beckett at the Margins’ | three year collaborative research project | The Irish Literary Times | Scoop.it
Staging Beckett is a three year collaborative research project undertaken by the universities of Chester, Reading, and the Victoria & Albert Museum which started in September 2012, funded by the Arts and Humanities Research Council. The project explores Beckett’s impact on British and Irish theatre practice and cultures while also looking at how Beckett has been staged internationally, and it is compiling a database of professional productions of Beckett’s plays in the UK and Ireland.
 
Further information on the project, including a list of our research outputs to date, can be found here:
http://www.reading.ac.uk/ftt/research/ftt-staging-beckett.aspx
Our blog can be found here: http://blogs.reading.ac.uk/staging-beckett/
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Lisa Dwan’s acclaimed Beckett trilogy pushes performance to the limits,

Lisa Dwan’s acclaimed Beckett trilogy pushes performance to the limits, | The Irish Literary Times | Scoop.it
HAVING wowed London’s West End, actress Lisa Dwan brings her acclaimed Samuel Beckett trilogy to Galway’s Taibhdhearc theatre next week, as part of the Galway Arts Festival. It will be a spiritual homecoming.
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Krapp's Last Tape: six performances from Pinter to Hurt in pictures

Krapp's Last Tape: six performances from Pinter to Hurt  in pictures | The Irish Literary Times | Scoop.it
Richard Wilson is the latest star of Samuel Beckett's one-man, one-act tragicomedy at the Crucible theatre.
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Staging Beckett: Constructing Performance Histories | A Piece of Monologue: Literature, Philosophy, Criticism

Staging Beckett: Constructing Performance Histories | A Piece of Monologue: Literature, Philosophy, Criticism | The Irish Literary Times | Scoop.it
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What lies beneath Samuel Beckett's half-buried woman in Happy Days?

What lies beneath Samuel Beckett's half-buried woman in Happy Days? | The Irish Literary Times | Scoop.it
It is one of Beckett's most famous – and most startling – images. But what inspired the half-buried woman in Happy Days?
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Eh Joe - audience reaction

Eh Joe - audience reaction | The Irish Literary Times | Scoop.it

Beckett's first play written specifically for television, Eh Joe explores how one man is forced to face up to his past and the lovers he has abused and driven to destruction. Tormented by inner demons, he is made to relive everything he has tried to forget.

In this acclaimed production from the Gate Theatre, as the disembodied voice speaks out, a camera projects the face of Joe (Michael Gambon) onto a large screen intensifying every flicker of fear, anger and shame. As the emotional tension heightens, we are all forced to admit that we can't escape our past.

'This must be the greatest half-hour in theatrical history... The great Gambon says nothing, and gives the performance of his life.' The Sunday Times

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