Conversations with and About Beckett

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Автор:Mel Gussow
Издателство:Grove Press
ISBN:9780802137654 Тегло (гр.): Формат: 140 / 200 Състояние: Мн. добро
Conversations with and About Beckett / Mel Gussow

Английски език.

Bert Lahr: ‘We tried it out in Miami, which was
like trying it out in truant school’ 17
Jack MacGowran: ‘Near the Martello Tower is a house with a woman named Mrs. Pozzo.
She has a serving maid called Lucky’ 20
Conversations with Beckett
‘Theatre was the light. Then it became its
own darkness’ 31
‘Directing is an excuse not to write' 36
‘Were a woman to do it, it would be like
having a soprano sing a baritone role’ 39
‘No idea' 42
‘My last gasp' 45
‘I've gagged myself. Life’s ambition’ 50
‘Every other line a laugh?’ 56
‘How big are they?’ 57
‘I’m the last’ 59
Conversations about Beckett
Billie Whitelaw: ‘A terrible inner scream,
like falling backwards into hell’ 83
Mike Nichols: ‘You can look at Godot and
say that it is just another day in Manhattan’ 93
Deborah Warner: ‘I am no cowboy when
it comes to text’ 100
Martin Segal: ‘You could tell him that we
were two bankers’ 104
Edward Beckett: ‘Mackerel and white Beaujolais’ 114
Selected Reviews and Essays 137
Afterword 185
Acknowledgments 189
Index 190

In October 1948, seeking relief from the blackness of prose, Samuel Beckett began writing a play. As he had with his novels, he wrote it in French because he wanted the discipline of working in a foreign language. Four months later, he finished it and titled it En attendant Godot, soon to be translated (by Beckett himseli) as Waiting for Godot. Then, as now, it was not clear who or what Godot was, or what the origin of the name was. Although Beckett had written a previous play, Eleutheria, Waiting for Godot became his first produced theatrical work. It was the most astonishing début of a playwright in our century, the play that was to alter the course of contemporary theatre.

When Beckett completed Godot, it was the climax of an annus mirabilis. In a little more than 12 months he had written, among other works, Godot and the first two parts of his trilogy of novels (Molloy and Malone Dies). Despite the eventual publication (in 1938) of the novel Murphy after it had been rejected by more than 40 publishers, he remained unknown. He found a publisher, Jérôme Lindon, for the trilogy, but the play went from producer to producer without arousing interest. It was Beckett’s wife, Suzanne, who became his unofficial and tireless agent. As Beckett acknowledged in one of our conversations, submitting the play to producers was ‘like giving it to the concierge’.

Finally they found Roger Blin. Faced with the choice of Eleutheria or Godot, he selected Godot, at least partly because it had a much smaller cast and would be far less costly to produce. From the moment of the opening of the

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