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From the mid-1960s, Samuel Beckett himself directed all his major plays in Berlin, Paris, and London. For most of these productions he meticulously prepared notebooks for his personal use.
The theatrical notebooks of Beckett that are reproduced in facsimile here are translated and annotated and thus offer a remarkable record of his own involvement with the staging of his texts. They present his solutions to practical problems but also provide a unique insight into the ways he envisaged his plays. With additional information taken from Beckett’s own annotated and corrected copies, the editors have been able to constitute a new revised text for each of these major plays.
Waiting for Godot shows for the first time the extensive revisions made by Beckett during revivals of the play. This volume is in part a facsimile, with transcription and commentary, of the notebook kept by Beckett for Berlin’s Schiller Theater production in 1975. It contains a full set of directorial notes, and discloses, section by section, a total system that works by repetition and analogy, musical rhythm, and echo, establishing subtle patterns of sound, movement, and gestures.
From the mid-1960s, Samuel Beckett himself directed all his major plays in Berlin, Paris, and London. For most of these productions he meticulously prepared notebooks for his personal use.
The theatrical notebooks of Beckett that are reproduced in facsimile here are translated and annotated and thus offer a remarkable record of his own involvement with the staging of his texts. They present his solutions to practical problems but also provide a unique insight into the ways he envisaged his plays. With additional information taken from Beckett’s own annotated and corrected copies, the editors have been able to constitute a new revised text for each of these major plays.
Waiting for Godot shows for the first time the extensive revisions made by Beckett during revivals of the play. This volume is in part a facsimile, with transcription and commentary, of the notebook kept by Beckett for Berlin’s Schiller Theater production in 1975. It contains a full set of directorial notes, and discloses, section by section, a total system that works by repetition and analogy, musical rhythm, and echo, establishing subtle patterns of sound, movement, and gestures.
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