Abstract
This essay offers some glimpses of the parallel histories of Beckett and Irish scenography, and explores how they have impacted on each other. In particular, we investigate the intersections between Beckett and theatre in Dublin in the 1920s and 1930s, considering whether the staging innovations of the Dublin theatres of Beckett's formative years helped to shape his scenographic imagination. We then focus on Louis le Brocquy's designs for the Gate Theatre production of Waiting for Godot in 1988, which went on to constitute the core of their Beckett Festival, launched in 1991, with various revivals and national and international tours since then.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
