Samuel Beckett's short play Play / Comedie and his only film Film
were written around the same time (1962-1963). They both have
self-referential titles that invite meditation on the genres they
represent. Although medium-specific opportunities and challenges
underlie their very different geneses, they have influenced each
other in terms of both form and content. In more ways than one,
Film continues where Play left off. Whereas in Play the genesis
shows a steady increase in speech tempo to the point of near
unintelligibility, the silent Film radically eliminates speech from
the outset. Conversely, the cinematic element is also clearly
present in Play, notably in the crucial role assigned to the light
beam as the mechanical, mindless inquisitor. Both works are
grounded in technology and rely heavily on explanatory notes for
the members of their production teams, thus exposing the inherently
collaborative nature of such projects. The genetic critical
analysis of the manuscripts of Play / Comedie and Film not only
contributes to the interpretation of each work separately but also
considers the two works together through the prism of Beckett's
multimedial authorship.
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