Differentials: Poetry, Poetics, Pedagogy
to consider sound itself as the raw material for analysis.”^5 One must, for that matter, listen to radio more intensively than o ...
characters takes place in Henry’s mind” (Beckett and Broadcasting 82). The same point is made by Martin Esslin: The background—a ...
All That Fall is a speci¤cally radio play, or rather radio text, for voices, not bodies. I have already refused to have it “stag ...
whenever pause indicated.]” The “o” sound now modulates into the longer unit “Who is beside me now?” and after the response “[Pa ...
ness of the narrative is the “noise” Beckett introduces into the channel. We are warned that the sea sound effects are not accur ...
there in the... no, standing, standing, there on the hearth-rug in the dark before the ¤re in his old red dressing-gown and no s ...
óld mén gréat troúble whíte wórld nót a soúnd The effect of these elaborately stylized schema is again to occlude the infor- mat ...
when the drip is ¤nally “cut off ” that Henry, supposedly telling a story un- connected to his family drama, cries out “Father!” ...
ing lessons; a somewhat older Ada given to nagging—“Did you put on your jaegers, Henry?” (97); “Don’t wet your good boots” (99)— ...
The sound of stone falling stops, whereas the sea’s “sucking” continues. “Suck- ing,” with its harsh spirant and voiceless stop, ...
house when “they were all shouting at one another. Your sister said she would throw herself off the cliff.” She who knows that H ...
way (“Please! please!”), takes his own life. And it is Henry who, for reasons never made wholly clear, cannot stop feeling he is ...
swimmer, enjoyed diving from the high rocks at Sandycove when his son Sam was small (Damned to Fame 32). In Beckett Writing Beck ...
and stopping to rest under colour of admiring the view. I’ll never have anyone like him. (cited in Damned to Fame 165) It was ju ...
continuity of the sea without and the ¤re within, is the vocal equivalent of a world in which all the characters—Ada, Addie, Hen ...
must have had in mind when he refused to allow his radio plays to be visu- alized in any form. In a 1997 debate of the John Cage ...
John Beckett. This score, evidently considered less than satisfactory by all concerned, was withdrawn shortly after the premiere ...
it has at least held its own in the strange mimetic competition with Words, the action of the play lacks dramatic tension. Becke ...
Consider, for starters, the role of “character” in the phantasmagoria of Words and Music. The “play” has three characters: Words ...
Again, this is to mimeticize what is largely abstract: when we hear the words in question, we focus, I think, on the astonishing ...
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