Beckett’s Voices / Voicing Beckett最新文献

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Technology and the Voices of the More than Human in Beckett’s All That Fall 贝克特的《一切都在坠落》中科技与超越人类的声音
Beckett’s Voices / Voicing Beckett Pub Date : 2021-07-27 DOI: 10.1163/9789004468382_013
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引用次数: 0
Articulations of Voice and Medium in Beckett’s Screen Work 贝克特银幕作品中声音与媒介的表达
Beckett’s Voices / Voicing Beckett Pub Date : 2021-07-27 DOI: 10.1163/9789004468382_021
J. Bignell
{"title":"Articulations of Voice and Medium in Beckett’s Screen Work","authors":"J. Bignell","doi":"10.1163/9789004468382_021","DOIUrl":"https://doi.org/10.1163/9789004468382_021","url":null,"abstract":"This chapter approaches the topic of voice in three distinct but interrelated ways, adopting the term articulation to bring together analyses of the role of voice and the issue of linkage between media forms in Beckett’s media work. The first section addresses how Beckett came to have a voice in radio and television in the 1950s and 1960s in Britain, through dependencies on gatekeepers who could grant or deny access to media institutions for him and his fellow cultural producers. Beckett was given a voice because he was recognised as a writer whose work was worthy of broadcast to a national audience, and onto whom a constellation of meanings and expectations was projected by those who facilitated it at the BBC. However, the significance of voice is complicated by the reflexivity about sound in Beckett’s first original work for broadcast, the radio drama All That Fall (1957). It already questions the notion of voice as speech authorised by its origins in living things located in real places. The chapter shows how, in subsequent work, this occlusion of voice as a marker of presence develops further at the same time as Beckett’s dramatic motifs and interests remain consistent and include relationships between body and voice, voice and place, and voice and time. However, because of Beckett’s refusal to talk publicly about himself as an artist or about his work, his own voice did not provide a parallel discourse that would explicate them. Beckett’s lack of speech did not prevent the development of his authorial voice, however, and indeed made his work seem all the more articulate to others so that, for example, when given the Nobel Prize the awarding committee’s press release could summarise his contribution to civilisation in a brief formal citation. Beckett could be easily spoken about even if he did not speak. \u0000 The second part of the chapter focuses on the relationship between image and sound in Beckett’s work on film, in the cinema project Film (1964) and the filmed adaptation of the theatre piece Play as Comedie (1966). In each of them, though in different ways, voice is dissociated from the performance of the actors on screen. The two film projects explored relationships between image and the spoken word, and the chapter develops this by discussing the dramas Beckett wrote for the television screen, in which a voice addresses or discusses the characters. Those voices have close, if also ambivalent, relationships with camera point of view. Voice and image are joined by music in some of Beckett’s screen dramas, and in each case music also has implied relationships, but uncertain ones, with voice and camera. This issue of how voice is related to other audio-visual components develops the concept of articulation further, by expanding on its implication of linkage but also the maintenance of separation between one element and another to which it is joined. \u0000 The chapter ends by arguing that Beckett’s work gave voice to potentialities in the audio-vi","PeriodicalId":318550,"journal":{"name":"Beckett’s Voices / Voicing Beckett","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126866065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Revealing the Limit of Language in Relation to Music 揭示语言与音乐的界限
Beckett’s Voices / Voicing Beckett Pub Date : 2021-07-27 DOI: 10.1163/9789004468382_005
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引用次数: 0
Pacing as Repressed Memory of Embodiment and Enactment in Footfalls 步伐作为脚步中体现与设定的压抑记忆
Beckett’s Voices / Voicing Beckett Pub Date : 2021-07-27 DOI: 10.1163/9789004468382_011
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引用次数: 1
Cinematic Adaptations of Beckett’s Breath 《贝克特的呼吸》的电影改编
Beckett’s Voices / Voicing Beckett Pub Date : 2021-07-27 DOI: 10.1163/9789004468382_016
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引用次数: 0
Un-bodied Voices, the Thing Itself and Beckett’s Neural Theatre 无形的声音,事物本身和贝克特的神经剧场
Beckett’s Voices / Voicing Beckett Pub Date : 2021-07-27 DOI: 10.1163/9789004468382_010
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引用次数: 0
All That Fall as a Case Study in the Possibilities and Problematics of Re-routing Samuel Beckett’s Radio Plays for Performance in Other Media 《所有的秋天——塞缪尔·贝克特的广播剧在其他媒体上表演的可能性和问题的个案研究》
Beckett’s Voices / Voicing Beckett Pub Date : 2021-07-27 DOI: 10.1163/9789004468382_022
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引用次数: 0
Translating Beckett’s Voices in Different Cultures 不同文化背景下贝克特声音的翻译
Beckett’s Voices / Voicing Beckett Pub Date : 2021-07-27 DOI: 10.1163/9789004468382_020
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引用次数: 0
Samuel Beckett, Quickening the ‘dead voices’: From Waiting for Godot to That Time 塞缪尔·贝克特,《唤醒“死亡的声音”:从等待戈多到那个时刻》
Beckett’s Voices / Voicing Beckett Pub Date : 2021-07-27 DOI: 10.1163/9789004468382_007
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引用次数: 0
Why Is ‘Listener’ Named ‘Souvenant’? The Role of the Spectator in a Bilingual Reading of That Time/Cette fois 为什么“听众”被命名为“纪念品”?《那个时代》双语阅读中旁观者的角色/Cette fois
Beckett’s Voices / Voicing Beckett Pub Date : 2021-07-27 DOI: 10.1163/9789004468382_009
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引用次数: 0
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