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Gendered agency in adaptations of Come and Go and Happy Days
Katherine Weiss

staged a site-specific Come and Go which the company readapted for an off-off-Broadway auditorium. Like Lee Breuer of Mabou Mines, Patricia Rozema's film from 2001 and Arlene Shechet's performance art of 2018 produced and staged their Happy Days in site-specific locations. These adaptations manage to blur the borders of what is Beckett and what is theatre by exploring the gaze in his work, and in doing so the audience finds themselves looking at the way they look at Beckett's women. Beckett scholar and director Nicholas Johnson has stated that

in Beckett’s afterlives
Abstract only
Pim Verhulst
Anna McMullan
, and
Jonathan Bignell

's chapter, which combines four cases: Mabou Mines’ production of Come and Go , first for the outdoor Brooklyn Bridge Festival in 1970 before moving to an indoor off-off-Broadway theatre venue four years later; Peter Brook and Marie-Hélène Estienne's 2015 staging of the same play; Canadian director Patricia Rozema's screen adaptation of Happy Days for the Beckett on Film project (2000); and Arlene Shechet's performance art piece Passing By (2018), set in New York's Madison Square Park and based on Theatre for a New Audience/Yale Repertory Theatre's production of

in Beckett’s afterlives