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Saunders, Graham (2007)
Publisher: Carysfort Press
Languages: English
Types: Part of book or chapter of book
Subjects:
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    • 1Brian Singleton. 'The Revival Revised', The Cambridge Companion to Twentieth-Century Irish Drama, ed. Shaun Richards (Cambridge: Cambridge University Press, 2004): 267-8.
    • 2 With the exception of Eleutheria, which has remained unperformed for copyright reasons.
    • 3 S.E Wilmer, 'Introduction', Beckett in Dublin, ed. S.E Wilmer (Dublin: Lilliput Press, 1992): 1.
    • 4 Aleks Sierz, Unpublished Interview with Michael Colgan, January 2001.
    • 5 Aleks Sierz, Interview with Alan Moloney. See the Beckett on Film website, http:www.channel 4.com/plus/beckett.
    • 6 Sierz, Interview with Michael Colgan.
    • 7 Katharine Worth, The Irish Drama of Europe from Yeats to Beckett (London: Athalone Press, 1986): 264.
    • 8 See Neil Taylor. 'A History of the stage Play on BBC Television', in Boxed Sets: Television Representations of Theatre, ed. Jeremy Ridgman (Luton: John Libbey, 1998), pp.23-37.
    • 9 Jonathan Bignall, 'Beckett at the BBC: The Production and Reception of Samuel Beckett's Plays for Television', Drawing on Beckett: Portraits, Performances and Cultural Contexts, ed. Linda Ben-Zvi (Assaph: Tel Aviv University, 2003): 178.
    • 10 Harry Fenwick, 'Transatlantic row breaks over the BBC's most Ambitious Drama Series', Sunday Telegraph, 24 September 1978.
    • 11 Vivian Mercier, Beckett / Beckett (Oxford: OUP, 1977): 38.
    • 12 Judith Roof, 'Playing Outside with Samuel Beckett,' A Century of Irish Drama: Widening the Stage, eds Eileen Morgan, Shakin Mustafa and Stephen Watt (Bloomington: Indiana University Press, 2000): 159.
    • 13 The first major work in this reinterpretation was Eoin O'Brien's Beckett Country (London: Faber, 1986). Others include, John Harrington's The Irish Beckett (Syracuse: Syracuse University Press, 1991); Mary Junker. Beckett: The Irish Dimension (Dublin: Wolfhound Press, 1995); and Declan Kiberd, Inventing Ireland (Cambridge: CUP, 1996), particularly the chapter, 'Beckett's texts of Laughter and Forgetting', (530-50).
    • 42 Julie Campbell and Amanda Dackombe, 'The Beckett Festival at the Barbican Theatre, September 1999', Journal of Beckett Studies, Spring (1999): 91.
    • 43 Singleton, 259.
    • 44 Anthony Roche, 'Pinter and Ireland', The Cambridge Companion to Harold Pinter, ed. Peter Raby (Cambridge: Cambridge University Press, 2001): 175. Roche argues that such was the success of the Beckett festival that Michael Colgan attempted to do the same in 1994 with the English dramatist, Harold Pinter.
    • 45 Singleton, 268.
    • 46 Vivian Mercier has also commented that, 'I can't help thinking that Winnie in Happy Days might have gone to Alexandra School and College, Dublin like my own mother and countless other protestant young ladies down the years'. See McGory and Unterecker, Yeats, Joyce and Beckett, 147. ADD MORE DETAILS PLEASE, as this is the only time of citing this volume.
    • 47 Luke Gibbons, ed. Transformations and Innovations in Irish Culture (Cork: Cork University Press, 1996): 73.
    • 48 Lara Pettitt, Screening Ireland: Film and Television Representation (Manchester: Manchester University Press, 2000): 177.
    • 49 Roche, Contemporary Irish Drama, 244 and 257.
    • 50 Eileen Morgan, Shakin Mustafa and Stephen Watt, eds. A Century of Irish Drama: Widening the Stage (Bloomington: Indiana University Press, 2000): xviii.
    • 51 Eileen O'Halloran and Susan Schreibman. 'Dublin Salutes Beckett,' The Beckett Circle: Newsletter of the Samuel Beckett Society, 13 (1990): 1
    • 52 Alan Stanford, who played Pozzo, was also in the Dublin production. He is English, but resides permanently in Ireland.
    • 53 Although Hurt had played the role of Krapp when the Gate production came to the Barbican Theatre in London during 1999, the actor who originally played Krapp in the 1991 Dublin production was the Irishman, David Kelly. Familiar to British television audiences for playing a whole host of stereotypical Irishmen during the 1970s and 1980s (notably the role of Albert - the one armed dishwasher in the situation comedy Robin's Nest), Kelly first took on the role of Krapp at a remarkable young age in 1959, when he appeared in the Irish première of the play at Trinity College's Player's Theatre. Kelly was also involved in Beckett on Film, playing 'A' in Rough for Theatre I.
    • 54 Aleks Sierz. Unpublished interview with Alan Maloney. IS THIS DIFFERENT FROM THE INTERVIEW CITED ABOVE (NOTE 5) ACCESSIBLE THROUGH THE BECKETT ON FILM WEBSITE?
    • 55 Conor McPherson, Unpublished Interview with Aleks Sierz, 20 January 2001.
    • 56 Riding, The New York Times.
    • 57 Singleton, 268.
    • 58 John Harrington, 'Samuel Beckett and the Counter-Tradition', Cambridge Companion to Twentieth-Century Irish Drama, ed. Shaun Richards (Cambridge: Cambridge University Press, 2004): 172.
    • 59 Gerry McCarthy, 'Screen Test', Sunday Times, 11 March 2001.
    • 60 Roche, 'Pinter and Ireland,' 175.
    • 61 Riding, The New York Times.
    • 62 Singleton, 269.
    • 63 Frost and McMullan, p.218. MORE BIBLIOGRAPHICAL DETAILS PLEASE, AS THIS IS THE FIRST TIME YOU HAVE CITED THIS VOLUME.
    • 64 'Pandora', The Independent, 9 July 2001
    • 65 Christopher Murray, 'Introduction', The State of Play: Irish Theatre in the 'Nineties ed. Eberhad Bort, CDE Studies (Trier: Wissenschaftlicher Verlag, 1996): 12. CHECK SPELLING OF EDITOR'S NAME and should CDE be spelt out in full?
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