Samuel Beckett l'œvre carrefour/l'œuvre limite
Marius Buning, Matthijs Engelberts, Sjef Houppermans, Emmanuel C. Jacquart
Rodopi, 1997 - 412 pagina's
ISBN 9042003375 (paperback) NLG 55.00 From the contents: Beckettissimo: Beckett virtuose de l'echo: 'fin de partie' et l'essence du bouddhisme (Emmanuel Jacquart).- Staging of institutional tensions in Beckett's plays (Juergen Siess).- Postmodern staging of 'waiting for Godot' (Mariko Hori Tanaka).- Staging himself, or Beckett's late style in the theatre (S.E. Gontarski). figure.
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Ruud Hisgen and Adriaan van der Weel
Overige edities - Alles weergeven
à la appears artistic become begins bien blanc body c'est called cette characters comme complete critical d'une dans le death deux direct drama Dream effect Essays être expression face faire fait figure final Godot hear human imagination interpretation John Knott l'autre language later lecture lieu light limite listener London material meaning movement n'est narrative narrator never nous opening original Paris partie passage performance perhaps peut piece play poems possible postmodern premier present production Proust published qu'il question reader reading reference relation Samuel Beckett seems seen sense silence sound space speak stage story structure suggest temps Theatre tout trace translation turn vision voice voir Watt writing York
Pagina 183 - ... already, perhaps they have said me already, perhaps they have carried me to the threshold of my story, before the door that opens on my story, that would surprise me, if it opens, it will be I, it will be the silence where I am, I don't know, I'll never know, in the silence you don't know, you must go on, I can't go on, I'll go on.
Pagina 344 - WHAT shall I do with this absurdity O heart, O troubled heart - this caricature, Decrepit age that has been tied to me As to a dog's tail?
Pagina 276 - Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at fifty miles per hour. Static between the stations. Rain. We want to capture and control these sounds, to use them not as sound effects but as musical instruments. Every film studio has a library of "sound effects
Pagina 158 - The expression that there is nothing to express, nothing with which to express, nothing from which to express, no power to express, no desire to express, together with the obligation to express.
Pagina 146 - It resembled them in the sense that it was not ended, when it was past, but continued to unfold, in Watt's head, from beginning to end, over and over again, the complex connexions of its lights and shadows, the passing from silence to sound and from sound to silence, the stillness before the movement and the stillness after, the quickenings and retardings, the approaches and the separations, all the shifting detail of its march and ordinance, according to the irrevocable caprice of its taking place.
Pagina 344 - O heart, O troubled heart— this caricature, Decrepit age that has been tied to me As to a dog's tail? Never had I more Excited, passionate, fantastical Imagination, nor an ear and eye That more expected the impossible— No, not in boyhood when with rod and fly, Or the humbler worm, I climbed Ben Bulben's back And had the livelong summer day to spend.
Pagina 23 - I asked her to look at me and after a few moments — [Pause.] — after a few moments she did, but the eyes just slits, because of the glare. I bent over her to get them in a shadow and they opened.
Pagina 153 - For the only way one can speak of nothing is to speak of it as though it were something, just as the only way one can speak of God is to speak of him as though he were a man...