The Beckett's drama through painting

A critical overview of the relationship between beckettian theatrical composition and pictorial art

Authors

DOI:

https://doi.org/10.33871/19805071.2024.30.1.8746

Keywords:

Beckett, Theater, Painting, Visuality

Abstract

This article analyzes the state of studies regarding the relationship between Samuel Beckett's theatrical dramaturgy and painting. It considers that different classifications of Beckett's theater indicate this connection, and important scholars of Beckett's work affirm the centrality of visuality and pictorial thought in the author's theatrical composition. Initially, the association of Beckett's name with the "theater of the absurd," "postmodern theater," and "post-dramatic theater" is revisited, considering the analogy between these classifications and painting, as well as the affinities between some of the author's plays and certain pictorial trends. The article then addresses works specifically dealing with the connection between Beckett's theatrical composition and pictorial art, aiming to indicate how this composition engages in visual discourse, the pictorial characteristics of this dramaturgy, and its proximity to the production of certain painters. Thus, indispensable discussions for the analysis of Beckett's theatrical work are presented, and unexplored questions within the realm of Beckett studies are highlighted.

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Author Biography

Vanessa Gonçalves Curty, UFPR

Vanessa Gonçalves Curty holds a Bachelor's degree in Performing Arts (2002) and a Specialization in History and Theories of Art (2004) from the State University of Londrina. She achieved her Master's degree in Theater from the State University of Santa Catarina (2008) and her P.H.D. in Literary, Cultural, and Interartistic Studies from the Faculty of Letters at the University of Porto - Portugal (2023). Since 2004, she has been a teaching at the Federal University of Paraná.

References

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BECKETT, Samuel. Disjecta: Miscellaneous Writings and a Dramatic Fragment by Samuel Beckett. London: John Calder. Ed. Ruby Cohn, 1983.

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BECKETT, Samuel. (2014). The Letters of Samuel Beckett. Vol. I: 1929–1940. Ed. George Craig, Martha Dow Fehsenfeld, Dan Gunn, Lois More Overbeck. Cambridge: Cambridge UP.

BECKETT, Samuel. Samuel Beckett: The Grove Centenary Edition. Vol. IV. (Poems, Short Fiction, and Criticism). Ed. Paul Auster. Int. by J. M. Coetzee, New York, Grove Press, 2006ᵇ.

CARNEIRO, CLEVERSON RIBAS. Os Tambores silenciosos: voz popular e alegria revolucionária. 2002. Tese de Doutorado. Universidade Federal do Paraná.

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ESSLIN, Martin. The Theatre of the Absurd. Methuen, 2001.

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GONTARSKI, Stanley E. Still at Issue after All These Years: The Beckettian Text, Printed and Performed. Journal of Beckett Studies, v. 24, n. 1, p. 104-115, 2015.

HALE, Jane Alison. The Broken Window: Beckett’s Dramatic Perspective. Purdue University Press, 1987.

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KNOWLSON, James. Images of Beckett. Cambridge University Press, 2003.

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LEHMANN, Hans-Thies. Teatro pós-dramático. Trad. Pedro Süssekind. Apresentação de Sérgio de Carvalho. São Paulo: Editora Cosac & Naif, 2007.

LLOYD, David. Beckett’s Thing: Painting and Theatre. Edinbugh University Press, 2016.

MARFUZ, Luiz. Beckett e a implosão da cena: poética teatral e estratégia. Perspectiva, 2014.

OPPENHEIM, Lois. The Painted Word: Samuel Beckett’s Dialogue with Art. Michigan: The University of Michigan Press, 2000.

YACOBI, Tamar. Pictorial Models and Narrative Ekphrasis. Poetics Today, 16(4), 599–649, 1995.

Descrição da imagem de capa: Cartaz vertical, com imagem produzida a partir de colagens em tons azuis e dourados. Na imagem, uma mulher, vestindo uma túnica que cobre sua boca e nariz, está com a mão direita posicionada na frente do tronco. Ela segura entre os dedos da mão um elemento abstrato, que possui textura que se assemelha a linhas de costura. Do lado superior esquerdo do cartaz, em letras brancas sobre a imagem, se lê “Revista Científica da Faculdade de Artes do Paraná – jan. / jul. 2024”; ainda do lado esquerdo, mas ocupando toda a lateral da imagem, em letras brancas e amarelas, “Dossiê: História e Imaginação nas Artes”. Fim da Descrição.

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Published

2024-07-01

How to Cite

GONÇALVES CURTY, Vanessa. The Beckett’s drama through painting: A critical overview of the relationship between beckettian theatrical composition and pictorial art. Revista Cientí­fica/FAP, Curitiba, v. 30, n. 1, p. 503–523, 2024. DOI: 10.33871/19805071.2024.30.1.8746. Disponível em: https://periodicos.unespar.edu.br/revistacientifica/article/view/8746. Acesso em: 23 nov. 2024.

Issue

Vol. 30 No. 1 (2024): History and Imagination in the Arts

Section

Fluxo Contínuo

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