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This book is the first sustained examination of Samuel Beckett's
pivotal engagements with post-war BBC radio. The BBC acted as a key
interpreter and promoter of Beckett's work during this crucial
period of his "getting known" in the Anglophone world in the 1950s
and 1960s, especially through the culturally ambitious Third
Programme, but also by the intermediary of the house magazine, The
Listener. The BBC ensured a sizeable but also informed reception
for Beckett's radio plays and various "adaptations" (including his
stage plays, prose, and even poetry); the audience that Beckett's
works reached by radio almost certainly exceeded in size his
readership or theatre audiences at the time. In rethinking several
key aspects of his relationship with the BBC, a mix of new and
familiar Beckett critics take as their starting point the
previously neglected BBC radio archives held at the Written Archive
Centre in Caversham, Berkshire. The results of this extended
reassessment are timely and, in many cases, quite surprising for
readers of Beckett and for scholars of radio, "late modernism," and
post-war British culture more broadly.
This book is the first sustained examination of Samuel Beckett's
pivotal engagements with post-war BBC radio. The BBC acted as a key
interpreter and promoter of Beckett's work during this crucial
period of his "getting known" in the Anglophone world in the 1950s
and 1960s, especially through the culturally ambitious Third
Programme, but also by the intermediary of the house magazine, The
Listener. The BBC ensured a sizeable but also informed reception
for Beckett's radio plays and various "adaptations" (including his
stage plays, prose, and even poetry); the audience that Beckett's
works reached by radio almost certainly exceeded in size his
readership or theatre audiences at the time. In rethinking several
key aspects of his relationship with the BBC, a mix of new and
familiar Beckett critics take as their starting point the
previously neglected BBC radio archives held at the Written Archive
Centre in Caversham, Berkshire. The results of this extended
reassessment are timely and, in many cases, quite surprising for
readers of Beckett and for scholars of radio, "late modernism," and
post-war British culture more broadly.
Published in association with the seminar series of the same name
held by the University of Oxford, "Samuel Beckett: Debts and
Legacies" presents the best new scholarship addressing the sources,
development and ongoing influence of Samuel Beckett's work. Edited
by convenors Dr Peter Fifield and Dr David Addyman, the volume
presents ten research essays by leading international scholars
ranging across Beckett's work, opening up new avenues of enquiry
and association for scholars, students and readers of Beckett's
work.Among the subjects covered the volume includes studies of:
-Beckett and the influence of new media 1956-1960-the influence of
silent film on Beckett's work-death, loss and Ireland in Beckett's
drama - tracing Irish references in Beckett's plays from the 1950s
and 1960s, including" Endgame," "All That Fall," " Krapp's Last
Tape" and "Eh Joe"-a consideration of Beckett's theatrical
notebooks and annotated copies of his plays which provide a unique
insight into his attitude toward the staging of his plays, the ways
he himself interpreted his texts and approached theatrical
practice.-the French text of the novel "Mercier et Camier," which
both biographically and aesthetically appeared at a very
significant moment in Beckett's career and indicates a crucial
development in his writing-the matter of tone in Beckett's drama,
offering a new reading of the ways in which this elusive property
emerges and can be read in the relationship between published text,
canon and performance
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