- Page 2:
This page intentionally left blank
- Page 8:
Images of Beckett Photographs by Jo
- Page 12:
To Jane and Elizabeth
- Page 20:
Preface and acknowledgements This b
- Page 26:
48 Patrick Magee as Hamm and Stephe
- Page 30:
Samuel Beckett, 1973
- Page 36:
estricting to some extent his own v
- Page 40:
time, his old friend, A. J. (‘Con
- Page 44:
The cry became a familiar one. But
- Page 48:
A PORTRAIT OF BECKETT 9
- Page 54:
gossip as much as anyone else. He o
- Page 58:
14 IMAGES OF BECKETT his reading in
- Page 62:
Beckett said to Harvey, is to expre
- Page 68:
would babble away inconsequentially
- Page 72:
wooden leg.’ 30 ‘Up to the cata
- Page 76:
prostate, his eyes and his heart. B
- Page 80:
For years I was unhappy, consciousl
- Page 84:
again joined a local Resistance gro
- Page 88:
But his ready sympathy and evident
- Page 94:
32 IMAGES OF BECKETT
- Page 100:
Home Office, invited Libera to give
- Page 104:
a native speaker, to create poetry,
- Page 108:
A PORTRAIT OF BECKETT 39
- Page 112:
fabric of the work that they are no
- Page 118:
‘Visual abstinence’ is rather a
- Page 122:
46 IMAGES OF BECKETT
- Page 126:
48 IMAGES OF BECKETT
- Page 130:
50 IMAGES OF BECKETT
- Page 134:
covered with sand (for fun) on a ho
- Page 138:
54 IMAGES OF BECKETT
- Page 142:
56 IMAGES OF BECKETT
- Page 146: acutely aware of developments in mo
- Page 150: Ewald Dülberg, Last Supper 60 IMAG
- Page 154: Rodin, Uccello, Andrea del Sarto an
- Page 160: Vladimir did the Tree, although he
- Page 164: hands on the wall of his room in th
- Page 168: Reaper, discovering that what had o
- Page 172: painting, Sleep, in which an old wo
- Page 176: he did have the paint-brush out and
- Page 180: sources, his remarkably retentive m
- Page 184: and my head in a certain way, to ge
- Page 190: again) paintings of Adam Elsheimer,
- Page 194: 82 IMAGES OF BECKETT
- Page 200: landscape and state it as material
- Page 204: with her husband, Willie. The three
- Page 208: and Blaue Reiter. He cannot himself
- Page 212: presented ‘as if seen from above
- Page 216: language. Unlike them, however, I h
- Page 220: woman. Old and yet old. On unseen k
- Page 226: 98 IMAGES OF BECKETT
- Page 230: that this was particularly necessar
- Page 234: 102 IMAGES OF BECKETT
- Page 238: that belongs to the air’, he said
- Page 242: 106 IMAGES OF BECKETT manages to be
- Page 246: other, just as he would certainly h
- Page 250:
Marionettentheater’, which Craig
- Page 254:
112 IMAGES OF BECKETT
- Page 258:
what worked most successfully in pr
- Page 262:
Billie Whitelaw in Footfalls, 1976
- Page 266:
118 IMAGES OF BECKETT Nonetheless,
- Page 270:
succession of details which succeed
- Page 274:
lack with mingled dirt and tears.
- Page 278:
When Beckett came to write his own
- Page 282:
them, sometimes very radically, to
- Page 286:
expressions and tiny movements of f
- Page 290:
hythm and balance. As a director, h
- Page 294:
132 IMAGES OF BECKETT
- Page 298:
changes to the stage directions but
- Page 302:
Billie Whitelaw in Happy Days, 1979
- Page 306:
he belongs to the stone. Vladimir i
- Page 310:
He escapes from the trap of the oth
- Page 314:
considerably, writing, ‘Conspicuo
- Page 318:
144 IMAGES OF BECKETT consulted by
- Page 324:
silence, death and nothingness regi
- Page 328:
35 SB, letter to Pamela Mitchell, 2
- Page 332:
65 Billie Whitelaw, Billie Whitelaw
- Page 336:
45 Extracts from the interview with
- Page 340:
Index Act Without Words I, 122 phot
- Page 344:
experimentalism, 100 imprisonment,
- Page 348:
Surrealism, 91-92, 119 Synge, J. M.