Jonathan Bignell is Professor of Television and Film at the University of ReadingAnna McMullan is Professor Emerita in Theatre at the University of ReadingPim Verhulst is a Postdoctoral Researcher at the University of Oxford and a Teaching Assistant at the University of Antwerp

• Introduction – Pim Verhulst, Anna McMullan and Jonathan Bignell1 Beckett’s ‘adaphatroce’ revisited: toward a poetics of adaptation – Pim Verhulst2 Adaptation and convergence: Beckett on Film – Jonathan Bignell3 ‘Imprecations from the Brighton Road to Foxrock Station’: the effect of place on Mouth on Fire’s stagings of All That Fall – Feargal Whelan4 Engines of reverence? Beckett, festivals and adaptation – Trish McTighe and Kurt Taroff5 Passing by, gazing upon: gendered agency in adaptations of Come and Go and Happy Days – Katherine Weiss6 ‘Last state last version’: adaptation and performance in Gare St Lazare Ireland’s How It Is – Dúnlaith Bird7 Intermedial embodiments: Company SJ’s staging of Beckett’s Company – Anna McMullan8 Beckett, neurodiversity and the prosthetic: the posthuman turn in contemporary art – Derval Tubridy9 Beckett and new media adaptation: from the literary corpus to the transmedia archive – David Houston Jones10 Opera as adaptation: György Kurtág’s Samuel Beckett: Fin de partie, scènes et monologues – Olga Beloborodova11 Questioning norms in three Beckettian choreographic projections: Maguy Marin, Dominique Dupuy, Joanna Czajkowska – Evelyne Clavier12 ‘I’ll give you just enough to keep you from dying’: power dynamics disclosed in Tania Bruguera’s Endgame – Luz María Sánchez Cardona13 Godot noir: Beckett in black and whiteface – S. E. Gontarski14 Deferred dreams: waiting for freedom and equality in Nwandu and Beckett – Graley Herren15 ‘How can you photograph words?’: expanding the Godot universe from adaptation to transmedia storytelling – Luciana Tamas and Eckart Voigts16 The figure of Beckett in four contemporary novels– Paul StewartIndex

Jonathan Bignell is Professor of Television and Film at the University of ReadingAnna McMullan is Professor Emerita in Theatre at the University of ReadingPim Verhulst is a Postdoctoral Researcher at the University of Oxford and a Teaching Assistant at the University of Antwerp

• Introduction – Pim Verhulst, Anna McMullan and Jonathan Bignell1 Beckett’s ‘adaphatroce’ revisited: toward a poetics of adaptation – Pim Verhulst2 Adaptation and convergence: Beckett on Film – Jonathan Bignell3 ‘Imprecations from the Brighton Road to Foxrock Station’: the effect of place on Mouth on Fire’s stagings of All That Fall – Feargal Whelan4 Engines of reverence? Beckett, festivals and adaptation – Trish McTighe and Kurt Taroff5 Passing by, gazing upon: gendered agency in adaptations of Come and Go and Happy Days – Katherine Weiss6 ‘Last state last version’: adaptation and performance in Gare St Lazare Ireland’s How It Is – Dúnlaith Bird7 Intermedial embodiments: Company SJ’s staging of Beckett’s Company – Anna McMullan8 Beckett, neurodiversity and the prosthetic: the posthuman turn in contemporary art – Derval Tubridy9 Beckett and new media adaptation: from the literary corpus to the transmedia archive – David Houston Jones10 Opera as adaptation: György Kurtág’s Samuel Beckett: Fin de partie, scènes et monologues – Olga Beloborodova11 Questioning norms in three Beckettian choreographic projections: Maguy Marin, Dominique Dupuy, Joanna Czajkowska – Evelyne Clavier12 ‘I’ll give you just enough to keep you from dying’: power dynamics disclosed in Tania Bruguera’s Endgame – Luz María Sánchez Cardona13 Godot noir: Beckett in black and whiteface – S. E. Gontarski14 Deferred dreams: waiting for freedom and equality in Nwandu and Beckett – Graley Herren15 ‘How can you photograph words?’: expanding the Godot universe from adaptation to transmedia storytelling – Luciana Tamas and Eckart Voigts16 The figure of Beckett in four contemporary novels– Paul StewartIndex

Jonathan Bignell is Professor of Television and Film at the University of ReadingAnna McMullan is Professor Emerita in Theatre at the University of ReadingPim Verhulst is a Postdoctoral Researcher at the University of Oxford and a Teaching Assistant at the University of Antwerp

• Introduction – Pim Verhulst, Anna McMullan and Jonathan Bignell1 Beckett’s ‘adaphatroce’ revisited: toward a poetics of adaptation – Pim Verhulst2 Adaptation and convergence: Beckett on Film – Jonathan Bignell3 ‘Imprecations from the Brighton Road to Foxrock Station’: the effect of place on Mouth on Fire’s stagings of All That Fall – Feargal Whelan4 Engines of reverence? Beckett, festivals and adaptation – Trish McTighe and Kurt Taroff5 Passing by, gazing upon: gendered agency in adaptations of Come and Go and Happy Days – Katherine Weiss6 ‘Last state last version’: adaptation and performance in Gare St Lazare Ireland’s How It Is – Dúnlaith Bird7 Intermedial embodiments: Company SJ’s staging of Beckett’s Company – Anna McMullan8 Beckett, neurodiversity and the prosthetic: the posthuman turn in contemporary art – Derval Tubridy9 Beckett and new media adaptation: from the literary corpus to the transmedia archive – David Houston Jones10 Opera as adaptation: György Kurtág’s Samuel Beckett: Fin de partie, scènes et monologues – Olga Beloborodova11 Questioning norms in three Beckettian choreographic projections: Maguy Marin, Dominique Dupuy, Joanna Czajkowska – Evelyne Clavier12 ‘I’ll give you just enough to keep you from dying’: power dynamics disclosed in Tania Bruguera’s Endgame – Luz María Sánchez Cardona13 Godot noir: Beckett in black and whiteface – S. E. Gontarski14 Deferred dreams: waiting for freedom and equality in Nwandu and Beckett – Graley Herren15 ‘How can you photograph words?’: expanding the Godot universe from adaptation to transmedia storytelling – Luciana Tamas and Eckart Voigts16 The figure of Beckett in four contemporary novels– Paul StewartIndex