"Beckett’s plays are studies in absence; from the moment when Victor Krapp turns his back on the audience, through Godot’s non-arrival, through the unprovided conclusions of Endgame, Happy Days, and Play, the unacknowledged past in Krapp’s Last Tape, the missing rings in Come and Go, the plays have always relied for their theatrical effectiveness on the audience’s awareness of gaping holes in the dramatic timespace as explored in performance.... dramatic timespace equals performance timespace. All that we can be sure of in the lives of these characters, and in the lives of these plays, is what we see in front of us in performance. Similarly, the characters do not find their selfhood in a coherent past or in a planned-out future: they exist only as they act. In the later plays, even that certainty has gone." Space, Time, and the Self in Beckett’s Late Theatre
DAVID PATTIE
http://www.utpjournals.com/product/md/433/space4.html taken 15/3/7
Holliger remarked "Beckett would have undoubtedly hated Come and Go because I used his play as a pretext, and in the end I destroyed it."
Thursday, March 15, 2007
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2 comments:
Today I wrote to Beckett's agents to see if we can have the rights to perform 'come and go' at the 070707 UpStage festival. The first response was regarding whether this will be an amateur or professional production. In theatrical context, to be professional means employing/paying equity actors, whereas amateurs work for free and include academic work (although I reckon if payment is criteria then academic work bridges amateur and professional. Some academics get large bursarys/research grants to pay their actors).
this is difficult
we are hardly ever paid to perform [sometimes a small stipend to get us to festivals but also we never ask anyone to pay to view our work
in that instance we must call ourselves amateur so as to allow ourselves the right to use the play
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