Gazing still: Beckett's static bodies on stage

Show simple item record Chattopadhyay, Arka 2018-10-20T08:05:51Z 2018-10-20T08:05:51Z 2018-10
dc.identifier.citation Chattopadhyay, Arka, "Gazing still: Beckett's static bodies on stage", Samuel Beckett Today / Aujourd'hui, DOI: 10.1163/18757405-03002001, vol. 30, no. 2, pp. 279-290, Oct. 2018 en_US
dc.identifier.issn 0927-3131
dc.identifier.issn 1875-7405
dc.description.abstract This article examines the function of the static body, both with and without speech, in the plays of Samuel Beckett. Zooming in on bodily stasis in Beckett allows us to see how he develops a corporeal discourse of inertness that goes beyond words to establish and formalize what words cannot say. The article probes into the complications of defining life in a static silent body. Gaze and affect work in a politically charged network to create resistant traces of life in inert bodies in Catastrophe and Rough for Theatre II while speech in all its kinetic prowess fails to animate them in Happy Days and Play
dc.description.statementofresponsibility by Arka Chattopadhyay
dc.format.extent vol. 30, no. 2
dc.language.iso en en_US
dc.publisher Brill en_US
dc.subject stasis en_US
dc.subject life en_US
dc.subject resistance en_US
dc.subject gaze en_US
dc.subject torture en_US
dc.subject Lacan en_US
dc.subject power en_US
dc.subject body en_US
dc.subject affect en_US
dc.subject silence en_US
dc.subject Beckett en_US
dc.subject death en_US
dc.title Gazing still: Beckett's static bodies on stage en_US
dc.type Article en_US
dc.relation.journal Samuel Beckett Today / Aujourd'hui

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