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Images of Beckett Photographs by Jo
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To Jane and Elizabeth
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Preface and acknowledgements This b
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48 Patrick Magee as Hamm and Stephe
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Samuel Beckett, 1973
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estricting to some extent his own v
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time, his old friend, A. J. (‘Con
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The cry became a familiar one. But
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A PORTRAIT OF BECKETT 9
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gossip as much as anyone else. He o
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14 IMAGES OF BECKETT his reading in
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Beckett said to Harvey, is to expre
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would babble away inconsequentially
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story ‘Draff’ she became Mrs Sh
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74 IMAGES OF BECKETT outstretched,
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ecause they are few in number, are
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connection either.’ 68 He had jus
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the entrance to the white monk-like
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of such a lit den was the natural c
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landscape and state it as material
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with her husband, Willie. The three
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and Blaue Reiter. He cannot himself
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presented ‘as if seen from above
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language. Unlike them, however, I h
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woman. Old and yet old. On unseen k
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98 IMAGES OF BECKETT
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that this was particularly necessar
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102 IMAGES OF BECKETT
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that belongs to the air’, he said
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106 IMAGES OF BECKETT manages to be
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other, just as he would certainly h
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Marionettentheater’, which Craig
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112 IMAGES OF BECKETT
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what worked most successfully in pr
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Billie Whitelaw in Footfalls, 1976
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118 IMAGES OF BECKETT Nonetheless,
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succession of details which succeed
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lack with mingled dirt and tears.
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When Beckett came to write his own
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them, sometimes very radically, to
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expressions and tiny movements of f
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hythm and balance. As a director, h
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132 IMAGES OF BECKETT
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changes to the stage directions but
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Billie Whitelaw in Happy Days, 1979
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he belongs to the stone. Vladimir i
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He escapes from the trap of the oth
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considerably, writing, ‘Conspicuo
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144 IMAGES OF BECKETT consulted by
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silence, death and nothingness regi
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35 SB, letter to Pamela Mitchell, 2
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65 Billie Whitelaw, Billie Whitelaw
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45 Extracts from the interview with
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Index Act Without Words I, 122 phot
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experimentalism, 100 imprisonment,
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Surrealism, 91-92, 119 Synge, J. M.