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Articulating Movement on the Beckettian Stage

2 June 2022

Jonathan McAllister, University of Cambridge

A way of walking is no less a refrain
than a song or a little coloured vision.

– Gilles Deleuze.[1]

In this short essay, I will articulate several meanings that reside in the performing body of Samuel Beckett’s play Footfalls (1976).[2] The aim of such an exercise is to sketch a few distinctive significations and practices that pertain to the Beckettian body. Continue reading “Articulating Movement on the Beckettian Stage”

A Writer Prepares: Reading Woolf’s Diary as Rehearsal Process

29 April 2021

Ellie Mitchell, University of St Andrews

Although diaries seldom make an appearance in her fiction, Virginia Woolf kept one for almost the entirety of her adult life, and her diary played a leading role in the composition of her works.[1]Certainly, since Leonard Woolf’s publication of the abridged A Writer’s Diary in 1953, it has become a critical commonplace to observe that Woolf plans, practises, and reflects on her writings in her diary.[2]What remains to be investigated, however, are the precise ways in which this planning, practice, and reflection are carried out. From as early as 1903, Woolf refers to her diarising as ‘training for eye & hand’, but what does this training involve?[3]Which aspects of writing does Woolf practise in her diary, and how precisely does she practise them? Continue reading “A Writer Prepares: Reading Woolf’s Diary as Rehearsal Process”

Come Dine With Me: Gertrude Stein and the Performative Act of Dining

7 December 2020

Rebekka Jolley, Liverpool Hope University

Richard Schechner unpacks the often-overcomplicated term ‘performative’. He clarifies that performative as an adjective ‘inflects what it modifies with performance-like qualities’.[1]In this article, performative will be used as an adjective to demonstrate how Gertrude Stein unveils dining as a ritualised performative act within her early plays: White Wines Three Acts (1913) and Turkey and Bones and Eating and We Liked It A Play (1916). This piece is interdisciplinary and draws on a close reading of the texts to establish the performative acts that are unveiled through the dialogue, as well as an enquiry into the staging of these pieces and the inclusion of the audience as part of the performative act. Continue reading “Come Dine With Me: Gertrude Stein and the Performative Act of Dining”

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