This book, first published in 1993, is the first full-length
analysis of Samuel Beckett's later drama in the context of
contemporary critical and performance theory. It employs a close,
textual examination of the later plays as a springboard for
exploring ideas around authority, gender and the ideology of
performance. Recent work in the world of critical theory has
suggested new ways of looking at performance practice. McMullan
argues that, while contemporary theory can deepen our understanding
of Beckett's dramatic practice, his drama places performance in the
context of a metaphysical history and a metatheatrical tradition,
thereby confronting and provoking some of the central debates in
performance studies' engagement with critical theory.
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