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2022 | 13 | 73-88

Article title

“The dead and gone. The dying and the going”: S. Beckett A's Piece of Monologue and C. Churchill's Here We Go

Content

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Abstracts

EN
This article reflects on Samuel Beckett’s A Piece of Monologue (1979) and Caryl Churchill’s Here We Go (2015) as plays that engage with the theme of “the dying and the going”. Both playwrights are internationally renowned for their theatrical innovation, hence this article investigates how their plays explore the propensity of old age to transgress the limitations of theatrical representation and to induce heightened awareness of the audience. Beckett’s play resembles an extended poetic image whose minimalism parallels the diminishing powers customarily associated with ageing. Yet Beckett’s minimalism redirects the focus on what almost perishes, ceases to be, and affirms Speaker’s urge to tell a story and to persist with “the one matter.” As such, the limited resources of old age are not considered as a hindrance to addressing the mystery of human existence and instead become empowered by the artistic arrangement of the text. Caryl Churchill’s Here We Go resembles a triptych and its three parts employ first dialogue, then monologue, and finally resort to silence to address our mortality. The play’s brevity and the diversity of applied aesthetic and structural solutions are matched with a script that gives the director and actors ample scope for artistic freedom and creativity. Therefore in their investigation into old age and death both playwrights escape the demands of chronology and teleological narratives and employ daring and imaginative techniques to challenge the medium they work in and to confound the conventional expectations of the theatre audience.

Year

Issue

13

Pages

73-88

Physical description

Dates

published
2022

Contributors

  • Akademia Mazowiecka w Płocku

References

  • Abbott H. P., Beckett writing Beckett: The Author in the Autograph, London, Cornell University Press, 1996.
  • Beckett S., The complete dramatic works, London, faber and faber, 2006.
  • Ben-Zvi L., The schismatic self in A Piece of Monologue, Journal of Beckett Studies, 1982, vol. 7, pp. 7-17.
  • Billington M., Here We Go review – Caryl Churchill’s chilling remainder of our mortality, The Guardian, [online], 2015, 29 Nov., https://www.theguardian.com/stage/2015/nov/29/here-we-go-review-a-chilling-reminder-of-our-own-mortality, [Accessed: 20 May 2022].
  • Brater E., Why Beckett, London, Thames and Hudson, 1989.
  • Brater E., Beyond minimalism: Beckett’s late style in the theatre, Oxford, Oxford University Press, 1991.
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  • Cavendish D., Here We Go, National Theatre, review: sheer tedium, The Telegraph, 2015, November 29, https://www.telegraph.co.uk/theatre/what-to-see/here-we-go-national-theatrereview-sheer-tedium/, [Accessed: 15 May 2022].
  • Churchill C., Here We Go, London, Nick Hern Books, 2015.
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  • Hale J. A., The broken window: Beckett’s dramatic perspective, West Lafayette, Indiana, Purdue University Press, 1987.
  • Jakobson R., Closing Statement: Linguistics and Poetics, [in:] Sebeok T. (ed.), Style in Language, Cambridge, MIT Press, 1960, pp. 350-377.
  • Lawson M., Caryl Churchill’s Here We Go: Eight actors in search of an ending, The New Statesman, 2015, December 10, https://www.newstatesman.com/culture/nature/2015/12/carylchurchill-s-here-we-go-eight-actors-search-ending, [Accessed: 20 May 2022].
  • McKie L., Review: Caryl Churchill’s new play about the end of life, Londonist, 2015, 28 November, https://londonist.com/2015/11/a-bitter-sweet-short-at-the-national-caryl-churchills-new-play-about-the-end-of-life, [Accessed: 20 May 2022].
  • McMullan A., Performing embodiment in Samuel Beckett’s drama, London, Routledge, 2010.
  • Morrison K., The rip-word in A Piece of Monologue, Modern Drama, 1982, vol. 25(3), pp. 349-354.
  • Office of National Statistics, 2011 Census - unpaid care snapshot, 2013, http://www.ons.gov.uk/ons/guide-method/census/2011/carers-week/index.html, [Accessed: 25 May 2022].
  • Robson M., Theatre & Death, London, Red Globe Press, 2019.
  • Shainberg L., Exorcising Beckett, Paris Review, 1987, vol. 29(104), pp. 100-136.
  • Small H., The Long Life, Oxford, Oxford University Press, 2007.
  • Suwalska-Kołecka A., “Up in the War Zone Ozone Zany Grey”: Caryl Churchill’s Theatrical Landscapes of Terror, Pain and Ecological Destruction, Gramma: Journal of Theory andCriticism, 2017, vol. 24, pp. 145-154.
  • Swain M., Here We Go, National Theatre, review: ‘Poignant, but gruelling’, Ham&High, [online] 2015, December 12, https://www.hamhigh.co.uk/news/here-we-go-national-theatrereview-poignant-but-gruelling-3743990, [Accessed: 18 May 2022].
  • Weinstock J. A., from Introduction: The spectral turn, [in:] Del Pilar Blanco M. and Peeren E. (eds.), The Spectralities Reader. Ghosts and hauntology in contemporary cultural memory, London, Bloomsbury, 2013, pp. 61-68.

Document Type

Publication order reference

Identifiers

Biblioteka Nauki
28762688

YADDA identifier

bwmeta1.element.ojs-doi-10_34864_heteroglossia_issn_2084-1302_nr13_art4
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