Alan Schneider produced the premiers of five of Beckett's plays in
the United States, including Waiting for Godot, Krapp's Last Tape
and Endgame, and directed a number of revivals. In their 30-year
working relationship, which ran from their first meeting in 1955 to
Schneider's accidental death in 1985, over 500 letters were
exchanged. Although Beckett claimed that he could not talk about
his work, he is remarkably forthcoming in these pages, describing
his conception of the characters, ironic and verbal echoes,
intended tone, staging details for scenes and precise instructions
for the delivery of individual lines. From these details a
remarkable sense of the playwright's vision emerges, and of the
director's role in realizing that vision. (Kirkus UK)
For Alan Schneider, directing "Endgame," Samuel Beckett lays out
the play's philosophy, then adds: "Don't mention any of this to
your actors!"
He claimed he couldn't talk about his work, but Beckett proves
remarkably forthcoming in these pages, which document the
thirty-year working relationship between the playwright and his
principal producer in the United States. The correspondence between
Beckett and Schneider offers an unparalleled picture of the art and
craft of theater in the hands of two masters. It is also an
endlessly enlightening look into the playwright's ideas and
methods, his remarks a virtual crib sheet for his brilliant,
eccentric plays.
Alan Schneider premiered five of Beckett's plays in the United
States, including "Waiting for Godot," "Krapp's Last Tape," and
"Endgame," and directed a number of revivals. Preparing for each
new production, the two wrote extensive letters--about intended
tone, conception of characters, irony and verbal echoes, staging
details for scenes, delivery of individual lines. From such details
a remarkable sense of the playwright's vision emerges, as well as a
feel for the director's task. Of "Godot," Beckett wrote to
Schneider, "I feel my monster is in safe keeping." His confidence
in the director, and Schneider's persistent probing for a surer
understanding of each play, have produced a marvelous resource: a
detailed map of Beckett's work in conception and in production.
The correspondence starts in December 1955, shortly after their
first meeting, and continues to Schneider's accidental death in
March 1984 (when crossing a street to mail a letter to Beckett).
The 500 letters capture the world of theater as well as
thepersonalities of their authors. Maurice Harmon's thorough notes
provide a helpful guide to people and events mentioned
throughout.
General
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