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Fifty years after the premiere of Waiting for Godot (1953), Samuel Beckett has become a global cultural icon. This book will be the first detailed study of Beckett's staging of the body in his drama for theatre, film, television and radio. Providing an overview of existing scholarship on Beckett and performance, this book will place Beckett's drama for theatre, film, television and radio in the context of highly contemporary discourses of subjectivity, embodiment, performance and technology.
The representation and experience of embodiment is a central preoccupation of Samuel Beckett's drama, one that he explored through diverse media. McMullan investigates the full range of Beckett's dramatic canon for stage, radio, television and film, including early drama, mimes and unpublished fragments. She examines how Beckett's drama composes and recomposes the body in each medium, and provokes ways of perceiving, conceiving and experiencing embodiment that address wider preoccupations with corporeality, technology and systems of power.
The representation and experience of embodiment is a central preoccupation of Samuel Beckett's drama, one that he explored through diverse media. McMullan investigates the full range of Beckett's dramatic canon for stage, radio, television and film, including early drama, mimes and unpublished fragments. She examines how Beckett's drama composes and recomposes the body in each medium, and provokes ways of perceiving, conceiving and experiencing embodiment that address wider preoccupations with corporeality, technology and systems of power.