Beckett by Brook or theatre uplifted by abusive fidelity1
This article considers Samuel Beckett through the lens of theatre director Peter Brook. More specifically, it looks at the ways in which Brook engages with Beckett, both in his theoretical writings, and in his stage productions. What becomes apparent is not only that Brook highly values Beckett pers...
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| 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.2020.5 |
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| author | Dominic Glynn |
| author_facet | Dominic Glynn |
| author_sort | Dominic Glynn |
| collection | DOAJ |
| description | This article considers Samuel Beckett through the lens of theatre director Peter Brook. More specifically, it looks at the ways in which Brook engages with Beckett, both in his theoretical writings, and in his stage productions. What becomes apparent is not only that Brook highly values Beckett personally, but that he is especially taken with his dramaturgy, the particular quality of which lies, in Brook’s eyes, in its capacity to rid itself of all superfluous trappings to express what is essential. Brook’s admiration does not, however, lead him to direct Oh les beaux jours (1995), Glückliche Tage (2003), and Fragments (2006, 2015) in a faithfully subservient manner, but rather to adopt a pragmatic approach to staging these texts, akin to what, in translation studies, is referred to as ‘abusive fidelity’, and which consists in moving away from the precise stage directions in order to find new means of expressing what is at stake in the plays. |
| format | Article |
| id | doaj-art-cdef532c18a9434ea05d42379643e497 |
| institution | OA Journals |
| issn | 2046-3820 2046-3839 |
| language | English |
| publishDate | 2020-06-01 |
| publisher | Liverpool University Press |
| record_format | Article |
| series | Francosphères |
| spelling | doaj-art-cdef532c18a9434ea05d42379643e4972025-08-20T02:24:58ZengLiverpool University PressFrancosphères2046-38202046-38392020-06-0191556910.3828/franc.2020.5Beckett by Brook or theatre uplifted by abusive fidelity1Dominic Glynn0City University of Hong KongThis article considers Samuel Beckett through the lens of theatre director Peter Brook. More specifically, it looks at the ways in which Brook engages with Beckett, both in his theoretical writings, and in his stage productions. What becomes apparent is not only that Brook highly values Beckett personally, but that he is especially taken with his dramaturgy, the particular quality of which lies, in Brook’s eyes, in its capacity to rid itself of all superfluous trappings to express what is essential. Brook’s admiration does not, however, lead him to direct Oh les beaux jours (1995), Glückliche Tage (2003), and Fragments (2006, 2015) in a faithfully subservient manner, but rather to adopt a pragmatic approach to staging these texts, akin to what, in translation studies, is referred to as ‘abusive fidelity’, and which consists in moving away from the precise stage directions in order to find new means of expressing what is at stake in the plays.http://www.liverpooluniversitypress.co.uk/doi/10.3828/franc.2020.5BeckettPeter Brookstagingabusive fidelityfragmentsBeckett |
| spellingShingle | Dominic Glynn Beckett by Brook or theatre uplifted by abusive fidelity1 Francosphères Beckett Peter Brook staging abusive fidelity fragments Beckett |
| title | Beckett by Brook or theatre uplifted by abusive fidelity1 |
| title_full | Beckett by Brook or theatre uplifted by abusive fidelity1 |
| title_fullStr | Beckett by Brook or theatre uplifted by abusive fidelity1 |
| title_full_unstemmed | Beckett by Brook or theatre uplifted by abusive fidelity1 |
| title_short | Beckett by Brook or theatre uplifted by abusive fidelity1 |
| title_sort | beckett by brook or theatre uplifted by abusive fidelity1 |
| topic | Beckett Peter Brook staging abusive fidelity fragments Beckett |
| url | http://www.liverpooluniversitypress.co.uk/doi/10.3828/franc.2020.5 |
| work_keys_str_mv | AT dominicglynn beckettbybrookortheatreupliftedbyabusivefidelity1 |