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Bad Godots: ‘Vladimir Emerges from the Barrel' and Other Interventions (Elements in Beckett Studies)

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Book Details
Language
English
Publishers
Cambridge University Press (22 Feb. 2024)
Weight
0.28 KG
Publication Date
02/02/2024
ISBN-10
1009467808
Pages
75 pages
ISBN-13
9781009467803
Dimensions
15.88 x 1.27 x 23.5 cm
SKU
9781009467803
Author Name
S. E. Gontarski (Author)
S. E. GONTARSKI, Robert O. Lawton Distinguished Professor of English, Ph.D., The Ohio State University (1974): specializes in twentieth-century Irish Studies, in British, U.S., and European Modernism, in performance theory, and in Modernist book history. He has been a Resident Fellow at the Djerassi Foundation, The Rockefeller Foundation at Bellagio, The Bogliasco Foundation, and a Visiting Scholar at the American Academy in Rome. He has been awarded four National Endowment for the Humanities research grants, has twice been awarded Fulbright Professorships, and has been Guest Editor of the following: American Book Review, The Review of Contemporary Fiction, Modern Fiction Studies and Drammaturgia. He is also General Editor of four book series: 1) "Crosscurrents: Comparative Studies in European Literature and Philosophy" with the University Press of Florida; 2) "Anthem Studies in Theatre and Performance" with Anthem Press, London;3) (with Paul Ardoin and Laci Mattison) "Understanding Philosophy / Understanding Modernism" with Bloomsbury4) "Other Becketts" with Edinburgh University Press. He edited the Journal of Beckett Studies from 1989-2008, and currently serves as Co-Editor with its publication by Edinburgh University Press.Read more about this authorRead less about this author
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This Element focuses on the machinery of commercial theatre, on extra-authorial interventions into the creative process and on the people and institutional forces that foster them. Such a process challenges the autonomy of the artwork and authorial integrity.

The primary focus of this Element is then on the hybrid genre of theatre where collective esthetics tends to override and so to supersede individual creation. The essay pays special attention to Samuel Beckett's first professionally produced play, Waiting for Godot, primarily its English language premieres in the US, UK, and the Republic of Ireland.

Its implications, however, reach far beyond the genetic and production histories of a single theatrical work to deal with the nature of authorship in a monetized culture, the process of realizing dramatic texts in such a culture, and Samuel Beckett's engagement with such machinery of art. .

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