Samuel Beckett's Breath on Screen: Damien Hirst’s Adaptation by Filiz Kutlu

Subjects: “…samuel beckett…”
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“Dante… Bruno. Vico.. Joyce:” Samuel Beckett’s “identified contraries” by Julie BÉNARD

“…This article deals with Samuel Beckett’s first essay “Dante… Bruno. Vico.. Joyce” which was published in the avant-garde magazine transition in 1929 at a time when modernism was itself becoming tradition. …”
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Les mots étrangers dans Dream of Fair to Middling Women (1932) de Samuel Beckett by Pascale Sardin

“…This article focuses on the place of foreign words and citations in Samuel Beckett’s first novel written in the years 1931-1932. …”
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Pascale Sardin. Samuel Beckett et la passion maternelle ou l’hystérie à l’œuvre by Jean-Christophe MURAT

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Comedy’s Double Negation of Meaning in Post-war European Theater by Anna Street

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The “New” Beckett and the Word/Image Parallax: An Infra-Disciplinary Short-Circuit by Robert Kilroy

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The Interpretation is the Message. Komposition als angewandte Interpretation bei György Kurtág by Tom Rojo Poller

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Lire les effets de voix by Dominique Rabaté

“…This article concerns questions of voice, enunciation and the narrator in the works of Louis-René des Forêts, Samuel Beckett, Albert Camus, Henri Michaux, Fyodor Dostoyevsky,et al.…”
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L’horizon dans Foley (2000) de Michael West : vers une poétique de la redite by Emmanuelle Guedj

“…In this, he is reminiscent of the tramps, tinkers, and strangers staged by the Irish Revival in the early 20th century and of many of Samuel Beckett’s characters. West’s Foley also exposes the layers of memory composing his conflicting identity and plays with metatheatricality by exposing the artificial horizon of his own story.…”
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Beckett, Duchamp and Chess: A Crossroads at Arcachon in the Summer of 1940 by Harry Vandervlist

“…L’artiste Marcel Duchamp et le poète Samuel Beckett ont passé l’été 1940 à Arcachon, à jouer aux échecs. …”
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Sublime Gaps by Antoine Dechêne

“…Including close readings of Henry James’s “The Figure in the Carpet” (1896) and Samuel Beckett’s Molloy (1951), this essay proceeds to show that the “metaphysical” character of these texts lies predominantly in their lack of faith in language as a reliable tool to convey the multiple and shifting identities of the unsuccessful sleuth confronted with the meaninglessness of his investigation.…”
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The Inevitability of Absurdity, or Collective Trance in Boogie-woogie Rhythm: Tom Stoppard’s Play Rosencrantz and Guildenstern are Dead on the Stage of the Old Theatre of Vilnius by Natalia Maliutina

“…The action is organized in the form of separate numbers-scenes, often almost unrelated to each other: dialogues of characters referring to Shakespeare’s Hamlet, to Samuel Beckett’s absurdist drama Waiting for Godot, vocal and dance scenes, musical fragments, acrobatic tricks, performative methods of playing with requisites. …”
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Corpo caligráfico, voz: as escritas em performance de Manoel Ricardo de Lima e Sérgio Medeiros by Annita Costa Malufe

“…Para esto, partimos del concepto de “performance”, de Paul Zumthor, para extenderlo a la lectura crítica de algunos textos de los autores Lima y Medeiros, en diálogo con otros artistas y pensadores de teatro, como Antonin Artaud, Samuel Beckett y Hans-Thies Lehmann.…”
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L’Appel du vide : l’espace vide de Peter Brook et l’épuisement beckettien by Sophie MARUÉJOULS-KOCH

“…The first is a book about theatre practice and the need for new forms, the second is a theoretical examination of four of Samuel Beckett’s television plays. Their comparison provides a starting point for this study, first because Brook’s and Deleuze’s conceptions of the notion of emptiness as a potential for creation converge in many respects and second because both texts echo each other in a way that allows for a deeper analysis of the image as a concept Deleuze considered to be the aim of art. …”
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Harold Pinter’ın Git-Gel Dolap Adlı Oyunu Üzerinden Absürd Tiyatro’da Komiğin İşlevselliği by Gamze Şentürk

“…Absürd Tiyatro insanın büyük trajedisini, yani saçma ama acı olan yaşam gerçeğini komiğe başvurarak trajikomik bir üslûpla ele almıştır. Samuel Beckett, Eugène Ionesco, Jean Genet, Arthur Adamov ve Harold Pinter gibi absürd oyun yazarları komiğin sırtına yükledikleri derin anlamlarla insanlık durumunu ortaya koymaya çalışmışlardır. …”
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Tradiția literară și teatrală a absurdului by Mirela Mihaela Doga

“…There are, of course, differences between generations, the likes of Samuel Beckett and Eugene Ionesco completely abandoning rational mechanisms, while Jean Giraudoux or Jean Anouilh use a brand-new logic.…”
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