Images of Beckett - Index of

45 Extracts from the interview with Siân Phillips are
printed in Knowlson, Damned to Fame, p. 538.
46 For a fuller discussion of Beckett’s reading of Kleist’s
Marionette essay, see James Knowlson and John Pilling,
Frescoes of the Skull. The Later Prose and Drama of Samuel
Beckett (London: John Calder, 1979), pp. 277–85.
47 Whitelaw, Billie Whitelaw . . . Who He?, p. 152.
48 Stuart Burge, letter to James Knowlson, 23 March 1993.
49 John Goodwin (ed.), Peter Hall’s Diaries. The Story of a
Dramatic Battle (London: Hamish Hamilton, 1983),
p. 127.
50 These one-to-one conversations with Dame Peggy
Ashcroft and Samuel Beckett took place at the time
when Happy Days was being rehearsed at the Old Vic
Theatre, London, in October 1974.
51 SB, letter to Alan Schneider, 4 January 1960. ‘I told you
about the beautiful and quite accidental effect in
London of the luminous eye burning up as the machine
runs on in silence and the light goes down.’ Harmon
(ed.), No Author Better Served, p. 59.
52 SB, undated letter to James Knowlson.
53 Haerdter’s rehearsal diary, in McMillan and Fehsenfeld,
Beckett in the Theatre, p. 211.
54 S. E. Gontarski (ed.), The Theatrical Notebooks of Samuel
Beckett, vol. ii, Endgame (London: Faber & Faber and
New York: Grove Press, 1992), p. xix.
55 SB, letter to Tom MacGreevy, 6 February 1936.
56 SB, letter to Tom MacGreevy, 29 January 1936.
57 SB, letter to Tom MacGreevy, 25 March 1936.
58 Beckett’s letter to Eisenstein was published in Jay Leyda,
Eisenstein 2: A Premature Celebration of Eisenstein’s Centenary,
trans. Alan Y. Upchurch, N. Lary, Zina Voynow and
Samuel Brody (Calcutta: Seagull Books, 1985), p. 59.
59 For an account of Joyce’s meetings with Eisenstein, see
Ronald Bargan, Sergei Eisenstein. A Life in Conflict
(Woodstock and New York: Overlook Press, 1999), p.
185.
60 SB, letter to Tom MacGreevy, 6 February 1936.
61 SB, letter to Tom MacGreevy, 11 February 1938.
62 SB, letter to Tom MacGreevy, 25 March 1936.
63 In the story ‘The Smeraldina’s Billet Doux’, Beckett has
the writer of the love letter from Germany write in her
fractured English: ‘I was at a grand Film last night, first
of all there wasent any of the usual hugging and kissing,
I think I have never enjoyed or felt so sad at a Film as
that one, Sturm uber Asien, if it comes to Dublin you
must go and see it, the same regie as Der Lebende
Leichnam, it was realey something quite different from
all other Films, nothing to do with Love (as everybody
understands the word) no silly girls makeing sweet
faces, black lakes and grand Landschaften.’ More Pricks
than Kicks, p. 163.
64 Rudolf Arnheim, Film, trans. from the German by
L. M. Sieveking and Ian F. D. Morrow, with a preface by
Paul Rotha (London: Faber & Faber, 1933), pp. 102–3.
65 When the topic of Beckett and film has been discussed,
critics have tended to focus on the impact of Eisenstein,
for example, an interesting paper given by Lois Overbeck
at a Beckett Conference in Strasbourg in 1996, later
entitled ‘Through the Aperture: Film, Television and
Samuel Beckett’. While in no way underestimating the
impact of Beckett’s reading of Eisenstein’s theoretical
essays and of Pudovkin, his reading of Arnheim’s book
seems to me to be of greater importance.
66 Arnheim, Film, p. 102.
67 ibid., p. 103.
68 Beckett, Krapp’s Last Tape and Embers, p. 14.
69 Arnheim, Film, p. 77.
70 Mary Bryden, Julian Garforth and Peter Mills (eds.),
Beckett at Reading. Catalogue of the Beckett Manuscript
Collection at The University of Reading (Reading:
Whiteknights Press and Beckett International
Foundation, 1998), p. 94.
71 For details of this related patterning see S. E. Gontarski
(ed.), The Theatrical Notebooks of Samuel Beckett, vol. iv, The
Shorter Plays (London: Faber & Faber, 1999), pp. 386 and
394.
72 The brilliant film of this play made by Anthony
Minghella in 2001 for the Beckett on Film project
illustrates particularly well the affinity between
Beckett’s writing and montage. Minghella’s editor has
provided an astounding example of inter-cutting with
variety and speed.
73 J. M. B. Antoine-Dunne, ‘Beckett and Eisenstein on
Light and Contrapuntal Montage’ in Samuel Beckett:
Endlessness in the Year 2000. Samuel Beckett: Fin sans fin en
l’an 2000. Samuel Beckett Today/Aujourd’hui, ed. Angela
Moorjani and Carola Veit (Amsterdam, New York:
Rodopi, 2001), pp. 315–30.
74 ibid., p. 316.
75 ibid.
76 Harmon (ed.), No Author Better Served, p. 283.
77 Samuel Beckett, Endgame (London: Faber & Faber 1972),
p. 35.
78 Gontarski (ed.), Theatrical Notebooks of Samuel Beckett,
vol. ii, Endgame, p. xx.
79 Arnheim, Film, p. 110.
80 ibid.
81 ibid., pp. 120–1.
82 ibid., p. 110.
83 ibid., p. 121.
84 V. I. Pudovkin, Film Technique. Five Essays and Two
Addresses, translated and annotated by Ivor Montagu,
enlarged edition (London: George Newnes, 1933),
p. 65.
85 Haerdter’s rehearsal diary, in McMillan and Fehsenfeld,
Beckett in the Theatre, p. 216.
86 Samuel Beckett, interview with Charles Marowitz, Encore
9, March–April 1962, pp. 43–5.
87 His cousin, Morris Sinclair, wrote recently of Beckett’s
visits to his home: ‘Sam, in his visits to the Sinclairs in
Kassel, brought in something musically new, at least to
me. He played Granados, and, as I remember, gave
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