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The effect of place on Mouth on Fire’s stagings of All That Fall
Feargal Whelan

heard indistinct sounds of a radio being tuned, referencing the old set which they had just seen. Quinn's voice, affecting the authoritative intimacy of a BBC continuity announcer, introduced them to a ‘broadcast’ of ‘ All that Fall , by Samuel Beckett’, setting the conceit of communal listening to a transmitted performance. At the conclusion, Quinn once again affected the style of a radio announcer beginning ‘you have been listening to …’, before listing the cast and technical crew details, after which the audience were invited to take off their masks and observe a

in Beckett’s afterlives
Towards a poetics of adaptation
Pim Verhulst

Godot experience is clear from Beckett's 1961 dismissal of television as ‘a medium for fleas’ ( 2014 : 423). To replicate a similar effect of vastness – one that would be easier to achieve on the big screen of cinema or later widescreen home television sets – actors would have to be the size of pin heads. However, it seems that Beckett also came to appreciate TV as lending itself better to closeness or intimacy as well as confinement. This may have resonated with performances of Godot in prisons that started to take place in the late 1950s and

in Beckett’s afterlives
The posthuman turn in contemporary art
Derval Tubridy

reach by over a metre, reaching down to touch the floor with only a slight bend of the torso. Long, thin black forms extend from the tip of the fingers, elongating the body and reconfiguring its balance and reach. Horn describes the haptic experience of wearing ‘finger gloves’ as one which creates intimacy, yet reaffirms distance: The finger gloves are made from such a light material, that I can move my fingers without effort. I feel, touch, grasp with them, yet keep a certain distance from the

in Beckett’s afterlives
Sidney Gottlieb

intimacy between mother and child. Hitchcock often spoke about the formative power of elders telling children scary stories at bedtime, schooling them in suspense, horror and what he called the ‘enjoyment of fear’, but here we see a different kind of formative primal scene, the mother singing a pop lullaby to her child –​a song that rescues him later on and to some extent rescues her as well, insofar as it is an assertion, not only of her role as a mother but also an independent and resourceful woman and artist. The Man Who Knew Too Much lends itself to and deserves full

in Partners in suspense