Evelyne Clavier
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Questioning norms in three Beckettian choreographic projections
Maguy Marin, Dominique Dupuy, Joanna Czajkowska
in Beckett’s afterlives
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This chapter examines how three choreographers from different generations as well as countries – Maguy Marin with May B (1981) and Dominique Dupuy with La petite dame (2002) in France, Joanna Czajkowska (Sopot Dance Theatre Company) with All This This Here (2015) in Poland – have re-enacted Beckett’s works for theatre and television through dance gestures, engaging in a creative dialogue with them. Rather than the one-to-one correspondence or relationship typically associated with ‘adaptation’ or (intermedial) ‘transposition’, these productions are analysed as what Bruno Genetti calls ‘choreographic projections’, i.e. performative extensions and transfigurations of the works on which they are based, sometimes beyond the point of recognition. These three choreographers are similar in that their encounter with Beckett’s work was very important for their own artistic careers. It urged them to question norms, to dance differently. It changed their aesthetics, creating new possibilities of gesturing for dancers and choreographers. As such, this chapter will examine not only how Beckett has transformed dance but also to what extent choreographic art has transformed our reception of his work, and how it has been historically influenced by dance.

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Beckett’s afterlives

Adaptation, remediation, appropriation


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