Beckett performed in the context of the globalization of contemporary performance
In recent decades Beckett has become a global artist whose work is performed and consumed around the world. Recently, world-renowned directors have been able to challenge the French tradition of producing Beckett that can be traced back to Blin’s production of En attendant Godot in 1953. More specif...
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| Format: | Article |
| Language: | English |
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Liverpool University Press
2020-06-01
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| Series: | Francosphères |
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| Online Access: | http://www.liverpooluniversitypress.co.uk/doi/10.3828/franc.2020.6 |
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| Summary: | In recent decades Beckett has become a global artist whose work is performed and consumed around the world. Recently, world-renowned directors have been able to challenge the French tradition of producing Beckett that can be traced back to Blin’s production of En attendant Godot in 1953. More specifically, this article focuses on two recent productions of Endgame, by American director Robert Wilson (Berlin winter 2016/2017), and Cuban activist and performer Tania Bruguera (Porto, Brussels, Hamburg, Paris, April–October 2017). Their hybrid, intermedial pieces challenge the standardized, ‘received productions’ of Endgame. This paper shows how these refreshed visions of Beckett provide a countermodel to productions aligned with the Beckettian ethos of lessness, and offer new ways, for European audiences, of experiencing the Beckettian canon. |
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| ISSN: | 2046-3820 2046-3839 |