Beckett’s Voices / Voicing Beckett

Laurens De Vos is Associate Professor in Theatre Studies at the University of Amsterdam. He authored Cruelty and Desire in the Modern Theater: Antonin Artaud, Samuel Beckett, and Sarah Kane (2011) and Shakespeare (2016). He edited Sarah Kane in Context (2010).Mariko Hori Tanaka is Professor of English at Aoyama Gakuin University in Tokyo. She has published widely on Samuel Beckett and has co-edited Samuel Beckett and Pain (2012), Samuel Beckett and Trauma (2018) and Influencing Beckett / Beckett Influencing (2020).Nicholas E. Johnson is Associate Professor of Drama at Trinity College Dublin, where he co-directs the Trinity Centre for Beckett Studies. His publications include Experimental Beckett (2020), Bertolt Brecht’s David Fragments (2020) and two special issues of the Journal of Beckett Studies (2014, 2020).

• ContentsPreface and AcknowledgementsList of FiguresNotes on Contributors‘All the Dead Voices’: IntroductionLaurens De Vos, Mariko Hori Tanaka and Nicholas E. JohnsonListening to the Inner Voice in Watt: Innovations in Narrative FormJulie CampbellMusicality of VoicesSound Matters in BeckettLinda Ben-ZviRevealing the Limit of Language in Relation to MusicMichiko TsushimaEmbers: A Polyphonic Piece for RadioJürgen SiessVoices of an Absent Other Samuel Beckett, Quickening the ‘Dead Voices’: From Waiting for Godot to That TimeLlewellyn BrownScratching the Surface: The Dramaturgical Oxymoron in Beckett’s SilencesLaurens De VosWhy Is ‘Listener’ Named ‘Souvenant’?: The Role of the Spectator in a Bilingual Reading of That Time/Cette foisKumiko KiuchiUn-bodied Voices, the Thing Itself and Beckett’s Neural TheatreS. E. GontarskiVoices of the Vulnerable Pacing as Repressed Memory of Embodiment and Enactment in FootfallsSvetlana Antropova‘Rock Her Off’: The Paradoxical Tension of the Split Voice in RockabyTeresa Rosell NicolásTechnology and the Voices of the More than Human in Beckett’s All That FallAnna McMullanA Creamy Work: Schiller and BeckettArthur RoseCinematic VoicesFilmic Perspectives in Speaker’s Narrative of A Piece of MonologueMariko Hori TanakaCinematic Adaptations of Beckett’s BreathAnna SiggTranslating Silence: Ashish Avikunthak’s Cinematographic Version of Come and GoThirthankar ChakrabortyEnacted Voices in Performance and MediaWithout Colour: Beckett and the Stage VoiceNicholas E. Johnson and Cathal QuinnBeckett in Performance: The Body of a Beckettian ActorMelissa NolanTranslating Beckett’s Voices in Different CulturesYoshiko Takebe Articulations of Voice and Medium in Beckett’s Screen WorkJonathan BignellAll That Fall as a Case Study in the Possibilities and Problematics of Re-routing Samuel Beckett’s Radio Plays for Performance in Other MediaEverett C. FrostIndex