Advertisement

Time Out from the World: Respite in Beckett’s Stage Plays

  • Michelle Chiang
Chapter
Part of the New Interpretations of Beckett in the Twenty-First Century book series (NIBTFC)

Abstract

Beckett’s storytelling characters in the stage plays are observed as actively engaging with their intuition of time by inventing stories, so as to temporarily escape an incarcerating external time continuum. As such, time is delineated by Beckett as dual in the stage plays, a seemingly manipulatable intuitive time and an interminable external ‘clock’ time. In this chapter, we look at how in the midst of attempting to make use of their intuition to pass the time, a sense of respite is produced for the characters and at the same time deprived from the audience members.

Bibliography

  1. Addyman, David. 2013. A New Landscape for Godot. In Samuel Beckett: Debts and Legacies, ed. Peter Fifield and David Addyman, 63–84. London/New York: Bloomsbury Methuen Drama.Google Scholar
  2. Barker, Stephen. 2006. Qu’est-ce que c’est d’aprés in Beckettian Time. In Beckett After Beckett, ed. S.E. Gontarski and Anthony Uhlmann, 98–115. Gainesville: University Press of Florida.Google Scholar
  3. Barthes, Roland. 1975. The Pleasure of the Text. Trans. Richard Miller. New York: Hill and Wang.Google Scholar
  4. Beckett, Samuel. 2006a. The Grove Centenary Edition: Poems. In Short Fiction, and Criticism of Samuel Beckett, ed. Paul Auster, vol. 4, 1st ed. New York: Grove Press.Google Scholar
  5. ———. 2006b. The Complete Dramatic Works. London: Faber and Faber.Google Scholar
  6. Bergson, Henri. 1911. Creative Evolution. Trans. Arthur Mitchell. London: Macmillan and Co. Limited.Google Scholar
  7. ———. 1913. Time and Freewill: An Essay on the Immediate Data of Consciousness, 3rd ed. Trans. F. L. Pogson. London: G. Allen.Google Scholar
  8. ———. 1935. The Two Sources of Morality and Religion. Trans. R. Ashley Audra and Cloudesley Brereton. London: Macmillan and Co. Ltd.Google Scholar
  9. ———. 2002. The Creative Mind: Philosophical Intuition. In Henri Bergson: Key Writings, ed. Keith Ansell Pearson and John Mullarkey. New York/London: Continuum.Google Scholar
  10. Bogue, Ronald. 2007. Deleuze’s Way: Essays in Transverse Ethics and Aesthetics. Basingstoke: Ashgate Publishing.Google Scholar
  11. Brantley, Ben. 2014. Beaten (Down) by the Clock: Three Beckett Plays About Time at BAM. New York Times, October 8. https://www.nytimes.com/2014/10/09/theater/three-beckett-plays-about-time-at-bam.html. Accessed 20 June 2017.
  12. Buchanan, Ian, and John Marks. 2000. Deleuze and Literature. Edinburgh: Edinburgh University Press.Google Scholar
  13. Cohn, Ruby. 1980. Just Play: Beckett’s Theater. Princeton: Princeton University Press.CrossRefGoogle Scholar
  14. ———. 2004. A Beckett Canon. Michigan: University of Michigan Press.Google Scholar
  15. Connor, Steven. 2013. About There and There Abouts. Presentation, Catalysis Conference on Space and Time, Downing College, Cambridge, March 23. http://www.stevenconnor.com/aboutthere/aboutthere.pdf. Accessed 12 Apr 2014.
  16. Deleuze, Gilles. 1978. On Kant: Synthesis and Time. In Les Cours de Gilles Deleuze. Trans. Melissa McMahon, March 14. http://www.webdeleuze.com/php/texte.php?cle=66&groupe=Kant&langue=2. Accessed 3 May 2013.
  17. ———. 1984. Kant’s Critical Philosophy. Trans. Hugh Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press.Google Scholar
  18. ———. 1994. Difference and Repetition. Trans. Paul Patton. New York: Columbia University Press.Google Scholar
  19. ———. 1997. On Four Poetic Formulas That Might Summarize the Kantian Philosophy. In Essays Critical and Clinical, 27–35. Trans. Daniel W. Smith and Michael A. Greco. Minneapolis: University of Minnesota Press.Google Scholar
  20. Fox, Michael David. 2001. ‘There’s Our Catastrophe’: Empathy, Sacrifice, and the Staging of Suffering in Beckett’s Theatre. New Theatre Quarterly 17(4): 357–372. https://doi.org/10.1017/S0266464X00014998. Accessed 21 June 2014.CrossRefGoogle Scholar
  21. Fraser, Graham. 2009. The Calligraphy of Desire: Barthes, Sade, and Beckett’s How It Is. Twentieth-Century Literature 55(1): 58–79. http://www.jstor.org/stable/40599964. Accessed 15 Mar 2014.CrossRefGoogle Scholar
  22. Gardner, Colin. 2012. Beckett, Deleuze and the Televisual Event: Peephole Art. London: Palgrave Macmillan.CrossRefGoogle Scholar
  23. Gibson, Andrew. 2006. Beckett and Badiou: The Pathos of Intermittency. Oxford/New York: Oxford University Press.Google Scholar
  24. Gontarski, S.E. 2013. Chapter 3: Trinity College, Dublin. In Samuel Beckett in Context, ed. Anthony Uhlmann, 29–41. New York: Cambridge University Press.Google Scholar
  25. Kant, Immanuel. 1990. Critique of Pure Reason. Trans. J. M. D. Meiklejohn. New York: Prometheus Books.Google Scholar
  26. ———. 1996. Preface [Second Edition]. Critique of Pure Reason, Unified ed. Trans. Werner S. Pluhar. Indiana: Hackett Publishing.Google Scholar
  27. Levy, Eric P. 2011. The Beckettian Mimesis of Time. University of Toronto Quarterly 80(1): 89–107. http://muse.jhu.edu/journals/utq/summary/v080/80.1.levy.html. Accessed 23 Apr 2013.
  28. Masters, Tim. 2016. No’s Knife Role Will Leave Me Shattered, Says Lisa Dwan. BBC, bbc.com, October 3. http://www.bbc.com/news/entertainment-arts-37539146. Accessed 16 Apr 2017.
  29. McCumber, John. 2011. Time and Philosophy: A History of Continental Thought. Durham: Acumen Publishing.Google Scholar
  30. McMullan, Anna. 2010. Performing Embodiment in Samuel Beckett’s Drama. New York/Abingdon Oxon: Routledge.Google Scholar
  31. Uhlmann, Anthony. 2006. Samuel Beckett and the Philosophical Image. New York: Cambridge University Press.CrossRefGoogle Scholar
  32. Williams, James. 2011. Gilles Deleuze’s Philosophy of Time: A Critical Introduction and Guide. Edinburgh: Edinburgh University Press.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Michelle Chiang
    • 1
  1. 1.Nanyang Technological UniversitySingaporeSingapore

Personalised recommendations