Images of Beckett - Index of

100 John Gruen, ‘Samuel Beckett Talks About Samuel
Beckett’, Vogue 154, no. 10, December 1969, p. 210.
101 Samuel Beckett, Lessness (London: Calder & Boyars,
1970), Signature series 9, back cover, extract of the
blurb written by Beckett himself.
102 ibid., p. 7.
103 Samuel Beckett, Worstward Ho (London: John Calder,
1983), p. 13.
104 ibid., p. 45.
105 ibid., pp. 28 and 33.
106 Marin Karmitz, interview with Elisabeth Lebovici in
Marin Karmitz Samuel Beckett, Comédie,p.20(in
French), p. 73 (in English).
BECKETT AS DIRECTOR
1 One notable instance was the Schiller Theatre
production, directed by the dancer Deryk Mendel in
February 1965, when Beckett came in, albeit
reluctantly, at the request of the Schiller Theatre’s
dramaturg to help Mendel out.
2 That Suzanne Beckett gave her husband detailed
reports on productions she went to see on his behalf is
clear from Beckett’s letter to Alan Schneider of 26
November 1963 about Mendel’s German production of
Play in Berlin. See Harmon (ed.), No Author Better Served,
pp. 144–6.
3 Michael Haerdter’s rehearsal diary in McMillan and
Fehsenfeld, Beckett in the Theatre, p. 230.
4 Beckett attended six performances of Peter Hall’s
production of Waiting for Godot at the Criterion Theatre
in London in the winter of 1955.
5 Alan Schneider, Entrances. An American Director’s Journey
(New York: Viking Penguin, 1986), p. 225.
6 Beckett’s letter to Peter Hall of 14 December 1955 and
his suggestions after seeing the Criterion Theatre
production are printed in Harmon (ed.), No Author
Better Served, pp. 2–5.
152 NOTES TO PAGES 93–109
7 Haerdter’s rehearsal diary, in McMillan and Fehsenfeld,
Beckett in the Theatre, p. 230.
8 Harmon (ed.), No Author Better Served, p. 59. In the same
vein, Beckett wrote of the production by Deryk Mendel
in Ulm, Donau, ‘It will be a very careful and
conscientious production, without more, but at least no
director’s improvements, which is a rare thing in
Germany.’ SB, letter to Henry Wenning, 10 June
1963.
9 Ruby Cohn, Just Play: Beckett’s Theater (Princeton, NJ:
Princeton University Press, 1980), p. 258.
10 Harmon (ed.), No Author Better Served, p. 144. The text of
Play was in fact revised after Beckett had worked on the
1964 Paris and London productions.
11 Haerdter’s rehearsal diary, in McMillan and Fehsenfeld,
Beckett in the Theatre, p. 207.
12 Walter Asmus, ‘Beckett Directs Beckett’, Theatre Quarterly
5, no. 19, 1975, p. 26.
13 Whitelaw, Billie Whitelaw . . . Who He?, p. 153.
14 McMillan and Fehsenfeld, Beckett in the Theatre, p. 177.
15 Harmon (ed.), No Author Better Served, p. 23.
16 McMillan and Fehsenfeld, Beckett in the Theatre, p. 204.
17 Haerdter’s rehearsal diary, ibid., p. 212.
18 Clancy Sigal, ‘Is This the Person to Murder Me?’, Sunday
Times (colour magazine), 1 March 1964, reprinted as
‘Rehearsal Diary’ of the Aldwych Theatre, London
production in McMillan and Fehsenfeld, Beckett in the
Theatre, p. 179.
19 Haerdter’s rehearsal diary in McMillan and Fehsenfeld,
Beckett in the Theatre, p. 208.
20 Alfred Hübner, Samuel Beckett inszeniert ‘Glückliche Tage’,
Probenprotokoll von Alfred Hübner (Frankfurt: Suhrkamp
Verlag, 1976), pp. 38–9.
21 Beckett’s comment was recorded by Martha Fehsenfeld.
22 Rick Cluchey in an unpublished memoir entitled ‘From
the Dead’.
23 Haerdter’s rehearsal diary, in McMillan and Fehsenfeld,
Beckett in the Theatre, p. 228.
24 ibid., p. 238.
25 Schneider, Entrances, p. 224.
26 For examples of Beckett’s knowledge of and passion for
poetry see Atik, How It Was, passim.
27 SB, German Diaries, vol. 4, 12 January 1937.
28 SB, letter to Mary Manning, 18 January 1937.
29 SB, German Diaries, vol. 4, 12 January 1937.
30 Beckett, Waiting for Godot, p. 89.
31 ibid., p. 62.
32 Since completing this essay, I found an interesting
discussion of Beckett and Craig in Jennifer M. Jeffers’
recent book, Uncharted Space: The End of Narrative,
Literature and the Visual Arts New Foundations 15 (New
York: Peter Lang, 2001).
33 Edward Gordon Craig, The Art of the Theatre (Edinburgh
and London: T. N. Fouhis, 1911), pp. 17–18.
34 SB, letter to James Knowlson, 11 April 1972.
35 Antonin Artaud, The Theatre and its Double, Signature 4
(London: John Calder, 1977), p. 27.
36 ibid., p. 33.
37 Jean Cocteau, Théâtre, vol. i, preface to Les Mariés de la
Tour Eiffel (Paris: Gallimard, 1948), p. 45.
38 Denis Bablet, The Theatre of Edward Gordon Craig, trans.
Daphne Woodward (London: Eyre Methuen, 1981),
p. 108.
39 David Bradby, Waiting for Godot, Plays in Production
(Cambridge: Cambridge University Press, 2001),
p. 133.
40 Asmus, ‘Beckett Directs Beckett’, p. 23.
41 Haerdter’s rehearsal diary, in McMillan and Fehsenfeld,
Beckett in the Theatre, p. 205.
42 James Knowlson (ed.), Happy Days: Samuel Beckett’s
Production Notebook (London: Faber & Faber, 1985),
p. 16. The quotations here are taken from a rehearsal
diary kept by Martha Fehsenfeld.
43 Craig, Art of the Theatre, preface p. 37, quoted in Bablet,
Theatre of Edward Gordon Craig, p. 109.
44 ibid.