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Samuel Beckett’s Self-Referential Drama

The Sensitive Chaos

Author Text to Follow


This current collection of essays is divided almost equally between theory and performance, but as often Shimon Levy treats the two as a single field as he explores the possibilities of chaos theory as a model for the theatrical experience, where ‘even the tiniest detail may influence the presentation,’ and moves on to explore the implications of Logical Positivism and Existentialism, all under the umbrella of the Cartesian Cogito. The essay on ‘The Poetics of Offstage’ is exemplary and should be required reading for theater directors.
S. E. Gontarski, Sarah Herndon Professor of English, Florida State University; Editor, Journal of Beckett Studies


Hardback ISBN: 978-1-902210-54-4
Hardback Price: £45.00 / $65.00
Release Date: June 1998
   
Paperback ISBN: 978-1-902210-46-9
Paperback Price: £15.95 / $27.95
Release Date: June 1998
   
Page Extent / Format: 184 pp. / 229 x 152 mm
Illustrated: No
   

 



Preface
Acknowledgments
List of Abbreviations


Introduction: Self-Organization in the Middle of Chaos

1 Philosophical Notions
2 The Message of the Medium – Theatrical Techniques
3 The Poetics of Offstage
4 The Radioplays
5 "Spirit Made Light" – Film and TV Plays
6 Godot – Resolution or Revolution?
7 I's and Eyes: A Hermeneutical Circle

Epilogue: Six She's and other Not I Proxies

Notes
Bibliography
Index


An intelligent, often fascinating analysis of Beckett’s work.
Choice

As before, the book’s principal value lies in Levy’s penetrating observations about the ontology of the plays in performance, the reflexive, prism-like conundrums in them that fascinate and frustrate intelligent and attentive spectators and theater practitioners alike… Among the main virtues of this revised and enlarged edition is the addition of production anecdotes and performer-interviews that set Levy’s critical ideas in newly illuminating practical context.
Journal of Beckett Studies

This current collection of essays is divided almost equally between theory and performance, but as often Shimon Levy treats the two as a single field as he explores the possibilities of chaos theory as a model for the theatrical experience, where ‘even the tiniest detail may influence the presentation,’ and moves on to explore the implications of Logical Positivism and Existentialism, all under the umbrella of the Cartesian Cogito. The essay on ‘The Poetics of Offstage’ is exemplary and should be required reading for theater directors.
S. E. Gontarski, Sarah Herndon Professor of English, Florida State University; Editor, Journal of Beckett Studies


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