Samuel Beckett, 1906-1989:
A Descriptive Chronology of
His Plays,
Theatrical Career, and Dramatic Theories
Excerpted with additions and other modifications from
Charles A. Carpenter's Modern British, Irish, and American Drama: A
Descriptive Chronology, 1865-1965. For an explanation of principles and
limitations, click on Introduction
above.
A selective bibliography of books by and about the
dramatist is appended.
NOW AVAILABLE: The Dramatic Works of Samuel Beckett: A Selective,
Classified International Bibliography of Publications About His Plays and Their
Conceptual Foundations
A
downloadable file of about 350 pages, continuously updated, compiled by Charles
A. Carpenter. Periodic updates sent free of additional charge.
Write him at <ccarpen@binghamton.edu> specifying your preference
for WordPerfect or Microsoft Word, and he will email the file on receipt of $30
at the following address:
1906
April
Samuel Barclay Beckett is born on April 13 (Good Friday) in Foxrock, near
1928
October
Beckett accepts a position in
1931
February
Beckett’s
first stage piece, the “irreverent burlesque” of parts of Corneille’s Le Cid entitled Le Kid, is presented at the Peacock
Theatre by the Dublin University Modern Language Society. Written in French
with a fellow lecturer at
1934
August
Beckett, a great admirer of W. B. Yeats's poetry, comments in a letter to a
friend that he saw the latest of his plays, Resurrection and King of
the Great Clock Tower, and found them dull; "Balbus building his wall
would be more dramatic."
Reviewing two of O'Casey's short plays in Bookman,
Beckett calls him "a master of knockabout in this very serious and
honourable sense—that he discerns the principle
of disintegration in even the most complacent solidities, and activates it to
their explosion. This is the energy of his theatre, the triumph of the
principle of knockabout in situation, in all its elements and on all its
planes, from the furniture to the higher centres. If Juno and the Paycock,
as seems likely, is his best work so far, it is because it communicates most
fully this dramatic dehiscence, mind and world come asunder in irreparable
dissociation."
1936
December
Beckett reports in a letter to a friend that he may write a play about Samuel
Johnson and Mrs Thrale. He had "often thought what a good subject was
there, perhaps only one long act. What interested me especially was the
breakdown of Johnson as soon as Thrale disappeared." A letter of June 1937
reports that he is making progress on the play, to be entitled Human Wishes,
but he never completes more than part of a scene of the projected four acts.
That is described and printed as an appendix in Just Play: Beckett's Theater
(1980) by Ruby Cohn, to whom Beckett gave the manuscript.
1937
January
Beckett records in a notebook thoughts that underlie his developing
antinaturalistic view of life and prefigure his later aesthetic, as he
expressed them to Axel Kaun and a man called Meier: "I am not interested
in a 'unification' of the historical chaos any more than I am in the
'clarification' of the individual chaos, and still less in the
anthropomorphisation of the inhuman necessities that provoke the chaos. What I
want is the straws, flotsam, etc., names, dates, births and deaths, because
that is all I can know. . . . Meier says the background is more important than
the foreground, the causes than the effects, the causes than their
representatives and opponents. I say the background and the causes are an
inhuman and incomprehensible machinery and venture to wonder what kind of
appetite it is that can be appeased by the modern animism that consists in
rationalising them. Rationalism is the last form of animism. Whereas the pure
incoherence of times and men and places is at least amusing."
1938
January
Beckett is nearly killed when a Parisian pimp, exasperated at his refusal to
accompany him, stabs him in the chest, barely missing his heart but inflicting
a dangerous injury by penetrating the pleura. Later the two men meet; Beckett
asks him why he did it, and the pimp responds, "Je ne
1947
January
Writing in French, Beckett composes his first full-length play, Eleuthéria
("Freedom"), finishing it in February. He will never sanction its
production or publication, but after many legal wrangles an English translation
is published in the
1949
In "Three Dialogues" with Georges Duthuit (transition49,
No.5), Beckett speaks favorably of the artistic revolutionaries Matisse and Tal
Coat "turning from [the plane of the feasible] in disgust, weary of its
puny exploits, weary of pretending to be able, of being able, of doing a little
better the same old thing, of going a little further along a dreary road."
They preferred "the expression that there is nothing to express, nothing
with which to express, nothing from which to express, no power to express, no
desire to express, together with the obligation to express."
January
Beckett finishes writing En attendant Godot, having started it in
October 1948. It will not reach the stage until January 1953 (in
1953
January
After being published (in French) in October 1952, Beckett's En attendant
Godot is staged at the tiny Théâtre de
Babylone in Paris and gradually becomes a cause célèbre as
Jean Anouilh, Armand Salacrou, Jacques Audiberti, Alain Robbe-Grillet, and
others champion it. Along with subsequent productions in
1955
August
Beckett's Waiting for Godot, masterfully directed by Peter Hall, is
performed on August 3 at the private Arts Theatre Club in
Beckett labeled Waiting for Godot a
"tragicomedy," implying a careful blend of the two disparate forms.
He told the French director Roger Blin, "The spirit of the play, to the
extent to which it has one, is that nothing is more grotesque than the
tragic." Its radical dramaturgy derives from his success in devising what
he will speak of as "a form that accommodates the mess," in his eyes
"the task of the artist now." Vivian Mercier will pen the enduring
description of its basic form in a review: it is "a play in which nothing
happens, twice." The two acts follow the same pattern, with
variations, as two interdependent down-and-outs keep a tenuous appointment with
a Mr Godot, who does not come. First they kill time with talk and games
designed for that purpose; then a diversion, first mistaken for Godot, arrives
in the person of a domineering master and his vassal; after they leave, the men
kill time again until a boy reports that Mr Godot cannot come today but surely
will tomorrow; then night abruptly falls as they consider hanging themselves
rather than returning the next day. At the curtains to each act, they decide to
depart but remain motionless. The second act, after an ominous cyclical song on
the theme of death, is markedly more dismal than the first. Pathos dominates
instead of farce as before. Disintegration is inherent in their treadmill
existence, and they realize more and more, along with the audience, that
succeeding days / acts would bring increased discomfort and the same lack of
wish-fulfillment. Their consolations—"We
always find something . . . to give us the impression we exist" and
"We are not saints, but we have kept our appointment"—are negated by the overwhelming impression that
"nothing happens, nobody comes, nobody goes, it's awful!" The
nihilistic theme is stated immediately—"Nothing
to be done"—and the play's cyclical form
embodies and transmits this meaning. The alleged entity "Godot" will
be interpreted as everything from a fulfilling God to a welcome death; Beckett
himself snuffs questions about what he represents by saying "If I knew, I
would have said so in the play." (Critics have widely agreed that he
represents whatever kind of respite or salvation an individual might seek.) The
impact of the play’s minimalist dramaturgy—analogous to the minimalist
sculpture of Giacometti (who designed the tree for the
December
Beckett comments in a letter to his director Alan Schneider before the
impending American premiere of Waiting for
Godot: “When it comes to journalists I feel the only line is to
refuse to be involved in exegesis of any kind. And to insist on the extreme
simplicity of dramatic situation and issue. If that’s not enough for them, and
it obviously isn’t, it’s plenty for us, and we have no elucidations to offer of
mysteries that are all of their making. My work is a matter of fundamental
sounds (no joke intended) made as fully as possible, and I accept
responsibility for nothing else. If people want to have headaches among the
overtones, let them. And provide their own aspirin” (printed in the Village Voice Reader).
1956
April
Beckett's Waiting for Godot is finally presented on Broadway. Its
January preview production in
May
In an interview (New York Times), Beckett compares his aesthetic with
that of Joyce: "The more Joyce knew the more he could. He's tending toward
omniscience and omnipotence as an artist. I'm working with impotence,
ignorance. There seems to be a kind of esthetic axiom that expression is
achievement—must be an achievement. My little
exploration is that whole zone of being that has always been set aside by
artists as something unusable—as something by
definition incompatible with art."
June
Beckett comments briefly on Shaw, Yeats, Synge, and O'Casey in a letter to
Cyril Cusack, who had asked him for a tribute to G.B.S. for a centenary
programme: "I wouldn't suggest that G.B.S. is not a great play-wright,
whatever that is when it's at home. What I would do is give the whole
unupsettable apple-cart for a sup of the Hawk's Well, or the Saints', or a
whiff of Juno, to go no further. Sorry."
1957
April
Beckett's Fin de partie, eventually translated as Endgame, is
presented in
October
Beckett's Endgame is presented
six times at the Court in a double premiere with the shorter one-act Krapp's
Last Tape. It is revived in October 1958 for a run of 38. Set in an
underground shelter whose environs seem to be "corpsed," Endgame
moves a degree beyond Waiting for Godot in negativity, superseding that
play's theme, "Nothing to be done," with "Finished, it's
finished, nearly finished, it must be nearly finished." Beckett will
describe the play to the American director Alan Schneider as "rather
difficult and elliptic, mostly depending on the power of the text to claw, more
inhuman than Godot." It was immediately dubbed "the ashcan
play" because of the startling spectacle of two dying relics, the main
character's parents, spending their last hours in such receptacles. It moves
these and two other disintegrating personae through an "old endgame lost
of old" (the chess metaphor is intentional). However, nothing decisively comes
to an end—except sugarplums, painkillers,
coffins and the like. Instead of two highly repetitive acts, the play conveys
the "last million last moments" in another abusive but interdependent
relationship between master and slave, this pair more like a contemptuous
father and sulking boy. Rather than a futile shared commitment to waiting for a
"savior," the play depicts the servant-figure building up his
determination to abandon his master, and, at the finale, actually posing at the
door, dressed for the road. He is not seeking merely to escape but to pursue
his dream of extinction, entering a world in which "all would be silent
and still and each thing in its last place, under the last dust." But the
final tableau reflects the opening one closely, and the servant remains frozen
where he stands. ("The end is in the beginning.") The blind,
chair-bound master is often preoccupied with composing a story which seems to
be based on his one redeeming action long ago, taking the baby of a man who was
perishing into his shelter. When his exploited man-slave states that he is
leaving and a small boy appears (or seems to) outside, he claims he doesn't
need him any more. But at the finale he whistles for him and receives no
response. His stoic acceptance of his abandonment is poignant. As in the case
of Waiting for Godot (and subsequent major plays), the definitive text
of the play appears in the series The Theatrical Notebooks of Samuel Beckett.
Krapp's Last Tape, another "endgame
play" written rapidly in English in early 1958, is an innovative and
moving monodrama of lost love and dead aspirations. The 69-year-old title
character, a stumbling, white-faced, purple-nosed figure immersed in a void,
putters through a minimal existence and nostalgically revisits his past. He
does so by playing excerpts from audio tapes made when he was 39, still
believed in love, and experienced a "vision" that fired him to
produce a "magnum opus." But the book sold only seventeen copies—presumably because the miraculous revelation which
inspired him (parallel to one in Beckett's life) was that the profound
spiritual gloom that had plagued him was the "reality" that should
underlie his work. The old man concludes that the long-lost delights add up to
nothing but "all that old misery."
1958
January
Beckett's Endgame is presented
Off-Broadway and has a run of 104.
1961
February
Responding to questions put by sixth-form students in
Summer
In a memorable interview with Tom Driver (Columbia University Forum),
Beckett expresses his underlying aesthetic principles. Averring that the world
is in a state of "buzzing confusion" best conveyed by the term
"mess," he states: "The only chance of renovation is to open our
eyes and see the mess. It is not a mess you can make sense of." He then
speaks of "the tension in art between the mess and form." As
paraphrased by Driver: "until recently, art has withstood the pressure of
chaotic things. It has held them at bay. It realized that to admit them was to
jeopardize form. 'How could the mess be admitted, because it appears to be the
opposite of form and therefore destructive of the very thing that art holds
itself to be?' But now we can keep it out no longer, because we have come into
a time when 'it invades our experience at every moment. It is there and it must
be allowed in.'" But this does not mean the end of art, with chaos
reflecting chaos. There will still be form in art, but "new form" of
a type that "admits the chaos and does not try to say that the chaos is
really something else. The form and the chaos remain separate. . . . That is
why the form itself becomes a preoccupation, because it exists as a problem
separate from the material it accommodates. To find a form that accommodates
the mess, that is the task of the artist now."
September
Beckett's Happy Days is
presented at the
1962
May
John Russell Taylor’s Anger and After: A
Guide to the New British Drama is published. The book parallels
Esslin’s The Theatre of the Absurd
in its effect on drama reviewers, teachers, and playgoers by fixing in the
public mind the idea that the English theatre “has undergone a transformation
in the last six years or so, and the event which marks ‘then’ off decisively
from ‘now’ is the first performance of Look
Back in Anger on 8 May
November
Beckett’s Happy Days is
staged at the Court a full year after its premiere in
1964
March
During
rehearsals of Beckett’s Play at
the National Theatre, a controversy arises between Tynan and Devine, who is
directing the play. Tynan notes that before Beckett began attending rehearsals,
“The delivery of the lines was (rightly) puppet-like and mechanical, but not
wholly dehumanised and stripped of all emphasis and inflections.” But since the
playwright’s arrival, “the lines are chanted in a breakneck monotone with no
inflections,” so that “many of them will be simply inaudible.” Devine replies
that Beckett’s presence has been invaluable, and that “you’ll have to have a
bit more guts if you really want to do experimental works.” Tynan retorts that
Devine is expressing the viewpoint of a director’s
theatre and a writer’s theatre,
whereas he believes in “a theatre of intelligent audiences. . . . I thought we had outgrown the idea of a
theatre as a mystic rite born of secret communion between author, director,
actors and an empty auditorium. The ‘dramatic purpose” you mention involves,
for me, communication and contact with a live audience. . . . So far from
wanting to ‘turn the play into literature,’ I was proposing that we should
liberate it from the author’s (to me) rather confined view of its dramatic
possibilities.”
April
Beckett's half-hour cyclical drama Play
is performed in
1969
December
In an interview (in Vogue) occasioned by his winning the Nobel Prize in
Literature, Beckett states, "If my work has any meaning at all, it is due
more to ignorance, inability, and an intuitive despair than to any individual
strength. I think that I have perhaps freed myself from certain formal
concepts. Perhaps like the composer Schönberg or the painter Kandinsky, I have
turned toward an abstract language. Unlike them, however, I have not tried to
concretize the abstraction—not to give it yet
another formal context." Later he comments, "Writing becomes not
easier, but more difficult for me. Every word is like an unnecessary stain on
silence and nothingness. Democritus pointed the way: 'Naught is more than
nothing.'"
1976
November
Beckett tells the American musician Morton Feldman that there has been only one
theme in his life: "To and fro in shadow, from outer shade to inner
shadow. To and fro, between unattainable self and unattainable non-self" (Buffalo News).
1983
June
Beckett's only stage play with political implications, the tiny one-act Catastrophe,
is presented in
1989
December
Beckett dies on December 22 of emphysema and undernourishment.
Selective Bibliography of Samuel Beckett
The
entire bibliography is largely restricted to readily available books and parts
of books. The primary works are limited to the most essential from a scholarly
viewpoint; secondary works are chosen less selectively, with an eye to the
evolution of commentary as well as to quality and uniqueness. The books and
parts of books are listed as follows: works by; reference works; collections of
essays; biographical and critical works.
For
a much fuller listing, including articles, essays in collections listed below,
and material of foreign origin, consult bibliographies of the author plus:
Charles
A. Carpenter. Modern Drama Scholarship and Criticism, 1966-1980: An
International Bibliography and Modern Drama Scholarship and Criticism,
1981-1990: An International Bibliography.
For
more recent items, see the annual checklists of modern drama criticism from
1992 to
[UP
= University Press; Univ. = University; NY =
Essential Volumes of Beckett’s Writings and Statements
Samuel
Beckett: The Grove Centenary Edition. 4 vols. Ed. Paul Auster. NY:
Grove Press, 2006:
Vols.
I and II: Novels
Vol. III: Dramatic Works (introduction by Edward Albee)
Vol. IV: Poems, Short Fiction, Criticism
I Can’t Go on, I’ll Go on: A Samuel Beckett Reader. NY: Grove Press, 1992 (621 pp.)
Waiting for Godot, with a Revised Text. Ed. Dougald McMillan and James Knowlson. NY:
Grove Press, 1993 (“Theatrical Notebooks of Samuel Beckett,” vol. I)
Endgame, with a Revised Text. Ed. S. E. Gontarski. NY: Grove Press, 1992
(“Theatrical Notebooks,” vol. 2)
Krapp’s Last Tape, with a Revised Text. Ed. James Knowlson. NY: Grove Press, 1993
(“Theatrical Notebooks,” vol. 3)
The Shorter Plays, with Revised Texts for Footfalls, Come and Go, and
What Where. Ed. S.
E. Gontarski. NY: Grove Press, 1997 (“Theatrical Notebooks,” vol. IV)
Happy Days: The Production Notebook of Samuel Beckett. Ed. James Knowlson.
Waiting for Godot, with an Afterword and Notes. Ed. John Fletcher.
En attendant Godot. Ed. Germaine Brée and Eric Schoenfeld. NY: Macmillan, 1963
Happy Days / Oh les beaux jours: A Bilingual Edition with an Afterword
and Notes. Ed.
James Knowlson.
The Complete Short Prose of Samuel Beckett, 1929-1989. NY: Grove Press, 1997
Proust. NY:
Grove Press, 1970
Poems, 1930-1989.
No Author Better Served: The Correspondence of Samuel Beckett with Alan
Schneider. Ed.
Maurice Harmon.
Conversations with and about Beckett. Ed. Mel Gussow. NY: Grove Press, 1996
Conversations with Samuel Beckett and Bram van der Velde / Charles
Juliet. Tr. Janey
Tucker, ed. Adriaan van der Weel and Ruud Hisgen.
Selective List of Books and Parts of Books About Beckett’s Life and
Drama
I.
Bibliographic and Reference Works
Ackerley,
C. J., and S. E. Gontarski. The Grove Companion to Samuel Beckett: A
Reader’s Guide to His Works, Life, and Thought. NY: Grove Press, 2004 (a
686-page encyclopedia)
Admussen,
Richard L. The Samuel Beckett Manuscripts: A Study.
Andonian,
Cathleen C. Samuel Beckett: A Reference Guide.
Bryer,
Jackson R. “Samuel Beckett: A Checklist of Criticism.” Pp. 219-
Cohn,
Ruby. A Beckett Canon.
Federman,
Raymond, and John Fletcher. Samuel Beckett, His Works and His Critics: An
Essay in Bibliography.
Fletcher,
John. About Beckett: The Playwright and the Work.
Hutchings,
William. Samuel Beckett’s Waiting for Godot: A Reference Guide.
Lake,
Murphy,
Peter J., et al. Critique of Beckett Criticism: A Guide to Research in
English, French, and German.
Pattie,
David. The Complete Critical Guide to Samuel Beckett.
Pilling,
John. A Samuel Beckett Chronology.
II.
Collections of Essays (The separate essays are not analyzed in section
III)
Acheson,
James, and Kateryna Arthur, eds. Beckett’s Later Fiction and Drama: Texts
for Company. NY:
Andonian,
Cathleen C., ed. The Critical Response to Samuel Beckett.
As No Other Dare Fail: For Samuel Beckett on His 80th Birthday by His
Friends and Admirers.
Beckett and Religion. Ed. Marius Buning et al.
Beckett in the 1990s. Ed. Marius Buning et al.
Beckett Translating / Translating Beckett. Ed. Alan W. Friedman et al. Univ. Park:
Beckett Versus Beckett. Ed. Marius Buning et al.
Ben-Zvi,
Linda, ed. Drawing on Beckett: Portraits, Performances, and Cultural
Contexts. Tel Aviv: Tel Aviv Univ., Yolanda and David Katz Faculty of the
Arts, 2003
-----.
Women in Beckett: Performance and Critical Perspectives.
-----,
and Angela Moorjani, eds. Beckett at 100: Revolving it All.
Birkett,
Jennifer, and Kate Ince, eds. Samuel Beckett. NY: Longman, 2000
Bloom,
Harold, ed. Samuel Beckett: Modern Critical Views. NY:
-----,
ed. Samuel Beckett’s Endgame: Modern Critical Interpretations.
NY:
-----,
ed. Samuel Beckett’s Waiting for Godot: Modern Critical Interpretations.
NY:
Boxall,
Peter, ed. Samuel Beckett. Duxford: Icon, 2000
Brater,
Enoch, ed. Beckett at 80 / Beckett in Context. NY:
-----.,
ed. The Theatrical Gamut: Notes for a Post-Beckettian Stage.
Bryden,
Mary, ed. Samuel Beckett and Music.
Burkman,
Katherine H., ed. Myth and Ritual in the Plays of Samuel Beckett.
-----,
and Robin J. Davis, eds. Rethinking Beckett: A Collection of Critical
Essays. NY:
Calder,
John, ed. Beckett at 60: A Festschrift.
Chevigny,
Cohn,
Ruby, ed. Casebook on Waiting for Godot. NY: Grove, 1967
-----,
ed. Samuel Beckett: A Collection of Criticism. NY: McGraw-Hill, 1975
-----,
ed. Samuel Beckett, Waiting for Godot: A Casebook.
Connor,
Steven, ed. Waiting for Godot and Endgame: Samuel Beckett. NY:
Davis,
Robin J., and Lance St. J. Butler, eds. “Make Sense Who May”: Essays on
Samuel Beckett’s Later Works. Gerrards Cross: Smythe, 1988
Drew,
Anne M., ed. Past Crimson, Past Woe: The Shakespeare-Beckett Connection.
NY:
Esslin,
Martin, ed. Samuel Beckett: A Collection of Critical Essays.
Friedman,
Melvin J., ed. Samuel Beckett Now: Critical Approaches to His Novels,
Poetry, and Plays.
Gontarski,
Stanley E., ed. The Beckett Studies Reader (1976-1991).
-----,
ed. On Beckett: Essays and Criticism. NY: Grove, 1986
-----,
and Anthony Uhlmann, eds. Beckett After Beckett.
Graver,
Lawrence, and Raymond Federman, eds. Samuel Beckett: The Critical Heritage.
Jeffers,
Jennifer M., ed. Samuel Beckett: A Casebook. NY: Garland, 1998
Jenkins,
Anthony, et al., eds. The Beckett Papers:
Knowlson,
James, ed. Theatre Workbook I: Samuel Beckett, Krapp’s Last Tape.
Lane,
Richard, ed. Beckett and Philosophy.
Marvel,
Laura, ed.
McCarthy,
Patrick A., ed. Critical Essays on Samuel Beckett.
Moorjani,
Angela, and Carola Veit, eds. Samuel Beckett: Endlessness in the Year 2000.
Murray,
Christopher, ed. Samuel Beckett: 100 Years: Centenary Essays.
Oppenheim,
Lois, ed. Directing Beckett.
-----,
ed. Palgrave Advances in Samuel Beckett Studies. Houndmills: Palgrave
Macmillan, 2004
-----,
and Marius Buning, eds. Beckett on and on ....
-----,
and Daniel Albright, eds. Samuel Beckett and the Arts: Music, Visual Arts,
and Non-Print Media. NY:
Pilling,
John, ed. The
Samuel Beckett: Crossroads and Borderlines. Ed. Marius Buning et al.
Samuel Beckett: Humanistic Perspectives. Ed. Morris Beja et al.
Samuel Beckett: The Art of Rhetoric. Ed. Edouard Morot-Sir et al. Chapel Hill:
Dept. of Romance Languages,
Schlueter,
June, and Enoch Brater, eds. Approaches to Teaching Beckett’s Waiting for
Godot. NY: Modern Language Association, 1991
Smith,
Joseph H., ed. The World of Samuel Beckett.
Stewart,
Bruce, ed. Beckett and Beyond. Gerrards Cross: Smythe, 1999
Tatlow,
Wilmer,
S. E., ed. Beckett in
Worth,
Katherine, ed. Beckett the Shape Changer: A Symposium.
III.
Biographical and Critical Works
Abbott, H. Porter. Beckett
Writing Beckett: The Author in the Autograph.
-----.
“Consorting with Spirits: The Arcane Craft of Beckett’s Later Drama.” Pp. 91-
-----.
“Late Modernism: Samuel Beckett and the Art of the Oeuvre.” Pp. 73-
Acheson,
James. “Beckett’s Happy Days,
-----.
Samuel Beckett’s Artistic Theory and Practice: Criticism, Drama, and Early
Fiction.
Adorno,
Theodore W. Notes to Literature, Vol. I. Ed. Rolf Tiedemann; tr.
Shierry W. Nicholson. NY:
Albright,
Daniel. Beckett and Aesthetics.
Alter,
Jean. “Waiting for the Reference, Waiting for Godot? On Referring in Theatre.”
Pp. 42-
Alvarez,
Alfred. Samuel Beckett. NY: Viking, 1973, 75-110: “The Plays: Carry on
Talking”
Armstrong,
Gordon S. “‘A Less Conscious Art’: Samuel Beckett and Scenic Art in the
Eighties.” Pp. 111-
-----.
Samuel Beckett, W. B. Yeats, and Jack Yeats: Images and Words.
Aslan,
Odette. Roger Blin and Twentieth-Century Playwrights.
Astro,
Alan. Understanding Samuel Beckett.
Athanason,
Arthur N. Endgame: The Ashbin Play.
Atik,
Anne. How It Was: A Memoir of Samuel Beckett. NY: Faber and Faber,
2001
Bair,
Deirdre. Samuel Beckett. NY: Harcourt, Brace, 1978 (First major
biography)
Baker,
Phil. Beckett and the Mythology of Psychoanalysis. NY:
Baldwin,
Hélène L. Samuel Beckett’s Real Silence.
Barnard,
Guy C. Samuel Beckett: A New Approach: A Study of the Novels and Plays.
Barr,
Richard L. Rooms with a View: The Stages of Community in the Modern Theater.
Barry,
Begam,
Richard. Samuel Beckett and the End of Modernity.
Bentley,
Eric. What Is Theatre? A Query in Chronicle Form. NY: Horizon Press,
1956, 148-158: “Undramatic Theatricality” (Counters Broadway critics’ views on Waiting
for Godot)
Ben-Zvi,
Linda. Samuel Beckett.
Berbes,
Khaled. The Semiotics of Beckett’s Theatre: A Semiotic Study.
Berlin,
Normand. The Secret Cause: A Discussion of Tragedy.
Bermel,
Albert. Contradictory Characters: An Interpretation of the Modern Theatre.
NY: Dutton, 1973, 159-184: “Hero and Heroine as Topographical Features: Krapp’s
Last Tape (1958) and Happy Days (1961)”
Bersani,
Leo, and Ulysse Dutoit. Arts of Impoverishment: Beckett, Rothko, Resnais.
Birkett,
Jennifer. Waiting for Godot by Samuel Beckett.
Bishop,
Tom. From the
Blau,
Herbert. The Eye of Prey: Subversions of the Postmodern.
-----.
The Impossible Theater: A Manifesto. NY: Macmillan, 1964, 228-251
(Director’s point of view on Godot and Endgame)
-----.
Sails of the Herring Fleet: Essays on Beckett.
Blin,
Roger. “Roger Blin.” Pp. 21-
Blumenthal,
Eileen. Joseph Chaikin: Exploring at the Boundaries of Theater.
Bode,
Christoph. “Dies zeigt sich: A Wittgensteinian Reading of Samuel
Beckett’s Dramatic Art.” Pp. 455-
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© http://bingweb.binghamton.edu/~ccarpen/Beckett.htm
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