ence, Philosophy, ed. Josué V. Harari and David F. Bell (Baltimore: Johns Hopkins Uni-
versity Press, 1982), 65.
- Martin Esslin, “Samuel Beckett and the Art of Radio,” Mediations: Essays on
Brecht, Beckett, and the Media (New York: Grove Press, 1982), 125–54; rpt. in On Beck-
ett: Essays and Criticism, ed. S. E. Gontarski (New York: Grove Press, 1986), 366. In a
related essay, “The Mind as Stage—Radio Drama” (Mediations, 171–87), Esslin relates
“blind” radio to the silent cinema but observes that the analog y breaks down because
radio “can evoke the visual element by suggestion alone” (172). - Klaus Schöning, “The Contours of Acoustic Art,” in Theatre Journal 43, no. 3
(October 1991): Special issue, “Radio Drama,” ed. Everett Frost, 312. Schöning’s is one
of the best treatments I have seen on the larger issues involved in radio art. - Don Druker, “Listening to the Radio,” Theatre Journal 43: 334.
- For discussions of the productions themselves, see Clas Zilliacus, Beckett and
Broadcasting: A Study of the Works of Samuel Beckett for and in Radio and Televi-
sion, Acta Academiae Aboensis, Ser. A. Humaniora, vol. 51, no. 2 (Abo, Finland: Abo
Akademi, 1976), 76–98; Jonathan Kalb, “The Mediated Quixote: The Radio and Tele-
vision Plays, and Film,” in The Cambridge Companion to Beckett, ed. John Pilling
(Cambridge, Eng.: Cambridge University Press, 1994), 124–44; Katharine Worth,
“Beckett and the Radio Medium,” in British Radio Drama, ed. John Drakakis (Cam-
bridge, Eng.: Cambridge University Press, 1981), 202–08; and Donald Wicher, “ ‘Out
of the Dark’: Beckett’s Texts for Radio,” in Beckett’s Later Fiction and Drama: Texts
for Company, ed. James Acheson and Kateryna Arthur (New York: St. Martin’s Press,
1987), 8–10. - The designation “skullscape” is Linda Ben Zvi’s, “soulscape” is Ruby Cohn’s,
both in the recorded discussion that follows the production of Embers for the Beck-
ett Festival of Radio Plays, recorded at the BBC Studios, London, in January 1988.
The director/producer for Embers, as for Wo rd s a n d Mu s i c (see the next section),
was Everett Frost; the associate producer, Faith Wilding; and the project originator,
Martha Fehsenfeld. In the BBC production, Barry McGovern played Henry, Billie
Whitelaw played Ada, Michael Deacon was the Riding Master/Music Master, Tika
Viker-Bloss was Addie, and Henry Strozier, the host for the production. In Words and
Music, David Warrilow played Words (Joe) and Alvin Epstein, Croak; the music was
performed by the Bowery Ensemble, conducted by Nils Vigeland. National Public
Radio broadcast the ¤ve-part series of radio plays on Beckett’s birthday, April 13, 1989.
The Beckett Festival cassettes are available from the Paci¤ca Radio Archive (818–506–
1077, or through their Web site at http://w w w.paci¤caradioarchives.org).
For Cohn’s analysis of Embers, see also her Just Play: Beckett’s Theater (Princeton,
NJ: Princeton University Press, 1980), 84–86. Embers, writes Cohn, “is a paradigm of
most of Beckett’s subsequent author-character combinations. Set in a human mind,
spare of referential content, dramatic stories condense toward incantation” (86). - Even at this level, however, there are problems. Kalb says, for example, that
Henry “may or may not be walking by the sea with his daughter Addie nearby,” thus
282 Notes to Pages 103–105