By John Fletcher
In About Beckett Emeritus Professor John Fletcher has compiled a radical and available quantity that explains why Beckett's paintings is so major and enduring. Professor Fletcher first met Beckett in 1961 and his ebook is crammed not just with insights into the paintings but in addition interviews with Beckett and first-hand tales and observations via those that helped to place his paintings at the degree, together with Dame Peggy Ashcroft, Roger Blin, Peter corridor, Max Wall and George Devine. As an advent to Beckett and his paintings, Professor Fletcher's booklet is incomparable.
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In approximately Beckett Emeritus Professor John Fletcher has compiled an intensive and available quantity that explains why Beckett's paintings is so major and enduring. Professor Fletcher first met Beckett in 1961 and his publication is crammed not just with insights into the paintings but additionally interviews with Beckett and first-hand tales and observations through those that helped to place his paintings at the degree, together with Dame Peggy Ashcroft, Roger Blin, Peter corridor, Max Wall and George Devine.
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Additional info for About Beckett. The Playwright and the Work
There is a marked difference in setting, of course: the estates of the declining nobility in pre-Revolutionary Russia are a far cry from the seedy bed-and-breakfasts or the trendy modernized farmhouses in which Harold Pinter’s characters, from The Birthday Party (1957) to Old Times (1971), tear each other apart; but both are the authentic locales of their respective periods. Long after the last derelict London mansion has been erased by the developer’s JCBs as irrevocably as Madame Ranyevskaia’s cherry orchard has been cut down by its new owner’s axemen, Pinter’s people, like Chekhov’s, will still be probing the resources of speech in order to find loopholes through which to escape from their truths, signalling as they go messages of hostility and repressed antagonism, either by the use of inappropriate discourse (like Mick’s assertion to the tramp Davies in The Caretaker: ‘I understood you were an experienced first-class professional interior and exterior decorator … You mean you wouldn’t know how to fit teal-blue, copper and parchment linoleum squares and have those colours re-echoed in the walls?
Beckett took up his post at the École Normale in October 1928. A near-contemporary at the school was the brilliant philosopher and founder of French existentialism, Jean-Paul Sartre, but the two men had little contact. On the other hand, Beckett formed a close friendship with a student of English there, Alfred Péron, whose death later in a German concentration camp affected him deeply. But the major event of his two years at the École was the meeting with James Joyce, a fellow-Dubliner who had settled in Paris.
Of the other plays, normally only Waiting for Godot is considered able to stand comfortably on its own in an evening programme. But slight as some of the ‘dramaticules’ and occasional pieces that Beckett wrote towards the end of his life undoubtedly are, they do reveal a remarkably restless and fertile talent, albeit one that was by then able to operate only in a small and restricted compass. It was not, however, merely his advanced age that prevented Beckett tackling full-length plays any longer: he had, quite consciously and deliberately, written himself out of the normal form.
About Beckett. The Playwright and the Work by John Fletcher