Concrete, Virtual and Imaginary Space: Beckett’s Stage Directions

Auteurs

  • Luiz Fernando Ramos University of São Paulo

DOI :

https://doi.org/10.37389/abei.v8i0.3714

Mots-clés :

Samuel Beckett, Stage directions, Drama analysis.

Résumé

Samuel Beckett has made a peculiar use of stage directions in his
theatre. Since the first plays, as Waiting for Godot, they became essential tools in order to establish a precise and restricted way of staging and guaranteeing the stage physicality he must have had in mind. After the sixties Beckett started to stage his own plays and his writing became yet more centered in rigorous stage directions. This article aims to describe, through the use he makes of stage directions, his evolution from being just a dramatist, in the fifties, till becoming a complete artist of the theatre in the eighties. In doing that intends to prove the utility of looking for stage directions in drama analysis, and to show how, from this point of view, Beckett’s theatre gets close of the work of artists commonly viewed as radically anti-theatrical, as is the case of Robert Wilson.

Biographie de l'auteur

  • Luiz Fernando Ramos, University of São Paulo

    LUIZ FERNANDO RAMOS (Ph.D) is Professor of Theory and History of Theatre at the University of São Paulo. Coordinates the Theatre Post-Graduate Programme of the
    University of São Paulo. Has published, among other books, O parto de Godot e outras encenações imaginárias: a rubrica como poética da cena (São Paulo, Hucitec, 1999). He is co-editor of one of the main Brazilian theatre journals – Sala Preta.

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Publiée

2006-06-17

Numéro

Rubrique

Samuel Beckett

Comment citer

Ramos, L. F. (2006). Concrete, Virtual and Imaginary Space: Beckett’s Stage Directions. ABEI Journal, 8, 27-35. https://doi.org/10.37389/abei.v8i0.3714