In March 1961 the author of Waiting for Godot (1955) Samuel Beckett (aged 54) mysteriously booked a room for two weeks at the Hotel Bristol on the Upper Leas in Folkestone under his middle name, Barclay Beckett. Beckett was keen that his Folkestone marriage to his long time partner Suzanne Dechevaux-Dumesnil remain a secret and so during his stay he was deliberately stealthy for fear of being recognised.
To mark the 60th anniversary year of Beckett’s wedding in all its intrigue, The Shape of Things to Come festival has commissioned an indoor-outdoor promenade event which audience members experience one at a time. This includes three short five-minute fictional monologues specially written by acclaimed writers, Helen Oyeyemi, Rupert Thomson and Eimear McBride in which they portray three Folkestone residents who observed (or nearly observed in one case) Beckett during his stay - a receptionist at the Hotel Bristol where he stayed, a local journalist for the Daily Express who believed he’d discovered about Beckett’s marriage in advance, and a witness, possibly invited from off the street, to the wedding at Folkestone Registry Office.
Each audience member walks through the same streets as Beckett, stopping at three venues to watch the three monologues. As they walk they will listen on headphones to three Beckett life sketches that touch on three works gestating in his mind at the time: his marriage play Happy Days, his adultery play Play (featuring two Kent place names at a critical juncture) and his film Film steeped in paranoia and in the fear of being perceived.
This is a dual event, for a limited live audience in Folkestone and as a specially commissioned film for a world-wide digital audience. The film will seek to allow the digital audience an equal, if different, experience of this curation.
Famously described by the Irish critic Vivien Mercier as a play in which 'nothing happens, twice', "En attendant Godot" was first performed at the Theatre de Babylone in Paris in 1953. It was translated into English by Samuel Beckett, and opened at the Arts Theatre in London in 1955.
Contains all of Beckett's less-than-full-length works (or 'Dramaticules') for the stage, radio, and television. Arranged in chronological order of composition, this book presents shorter plays, which demonstrate the laconic means and compassionate ends of Beckett's dramatic vision.
Molloy is Samuel Beckett's best-known novel, and his first published work to be written in French, ushering in a period of concentrated creativity in the late 1940s which included the companion novels Malone Dies and The Unnamable.
Originally written in French and translated into English by Beckett, Endgame was given its first London performance at the Royal Court Theatre in 1957.HAMM: Clov!CLOV: Yes.HAMM: Nature has forgotten us.CLOV: There's no more nature.HAMM: No more nature!
A novel in three parts, written in short paragraphs, which tell (abruptly, cajolingly, bleakly) of a narrator lying in the dark, in the mud, repeating his life as he hears it uttered - or remembered - by another voice.
Krapp's Last Tape was first performed by Patrick Magee at the Royal Court Theatre in October 1958, and described as 'a solo, if that is the word, for one voice and two organs: one human, one mechanical. Box - [Pause.] - three, spool - [Pause.] - five.
Murphy's friends and familiars are simulacra of Murphy, fragmented and incomplete. The combination of particularity and absurdity gives Murphy's world its painful definition, but the sheer comic energy of Beckett's prose releases characters and readers alike into exuberance.
Features four last prose fictions by Samuel Beckett that were originally published individually, and their composition spanned the final decade of his life. This edition also includes several short prose texts such as: "Heard in the Dark" I & II, "One Evening", "The Way", and, "Ceiling".
It was as a poet that Samuel Beckett launched himself in the little reviews of 1930s Paris, and as a poet that he ended his career.
The Collected Poems is the most complete edition of Beckett's poetry and verse translations ever to be published, as well as the first critical edition.
'Nothing happens, nobody comes, nobody goes, it's awful.' This line was adopted by Jean Anouilh, to characterize the first production of "Waiting For Godot" at the Theatre de Babylone, in 1953. Anybody acquinted with Beckett's masterly black comedy would not question the recognition of this twentieth-century literature classic.
intended by Samuel Beckett to form the 'recessional' or end-piece of his early collection of interrelated stories, this title situates the work in terms of its biographical context, its intertextual references, and as a vital link in the evolution of Beckett's early work.