Abstract
The confrontation of two models of theatre – the one focused on the playwright and the one giving priority to the theatre makers – is of much prominence for contemporary stage productions. General dominance of the latter bears interesting implications in many fi elds. For instance, non-canonical productions of plays by Samuel Beckett are confronted with the politics of the Beckett Estate. By analysing different approaches to Beckett’s oeuvre, the article discusses possible artistic consequences of various degrees of artistically successful overinterpretions of his work on stage. The examples are: Endgame by Complicite, Fragments by Peter Brook and Marie-Hélène Estienne and Island by Song of the Goat Theatre.
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