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Phone: (843) 588-2001
Edgar Allan Poe/Sullivan's Island Library
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West Ashley Library
9 a.m. - 7 p.m.
Phone: (843) 766-6635
Wando Mount Pleasant Library
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Phone: (843) 805-6888
Village Library
9 a.m. - 6 p.m.
Phone: (843) 884-9741
St. Paul's/Hollywood Library
9 a.m. - 8 p.m.
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Otranto Road Library
9 a.m. - 8 p.m.
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Mt. Pleasant Library
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McClellanville Library
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Keith Summey North Charleston Library
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John's Island Library
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Hurd/St. Andrews Library
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Miss Jane's Building (Edisto Library Temporary Location)
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Dorchester Road Library
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Phone: (843) 722-7550
Baxter-Patrick James Island
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Main Library
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Phone: (843) 805-6930
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Trying Again, Failing Again: Samuel Beckett and the Sequel Play.
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- Author(s): Simpson, Hannah
- Source:
New Theatre Quarterly; Aug2021, Vol. 37 Issue 3, p258-272, 15p- Subject Terms:
- Source:
- Additional Information
- Subject Terms:
- Subject Terms:
- Abstract: Samuel Beckett's Waiting for Godot has spawned several unauthorized sequel plays, which see Godot arrive on stage in 1960s Yugoslavia, 1980s Ireland, 1990s North America, and early 2000s Japan. The sequel play is a largely ignored phenomenon in literary scholarship, with the sequel form itself routinely dismissed as a derivative and inevitably disappointing text. Yet the sequel also re-situates and re-evaluates the original text, and its reiterative nature aptly parallels the paradox of non-ending in Beckett's original Waiting for Godot. Focusing on four unauthorized stage sequels to Beckett's play – Miodrag Bulatović's Godo je došao (Godot Has Arrived, 1966), Alan Titley's Tagann Godot (Godot Arrives, 1987), Daniel Curzon's Godot Arrives (1999), and Minoru Betsuyaku's Yattekita Godot (Godot Has Come, 2007) – this article examines how these sequels rework the cultural logic of Godot's arrival to their own critical and political ends. These playwrights draw on the very recursive, even frustrating, nature of the sequel form itself as an exegetic framework, reproducing the trope of non-ending that characterizes Beckett's own work. Hannah Simpson is the Rosemary Pountney Junior Research Fellow in British and European Drama at St Anne's College, University of Oxford. She is currently working on two forthcoming Beckett-related monographs: Witnessing Pain: Samuel Beckett and Post-War Francophone Theatre and Samuel Beckett and Disability Performance. [ABSTRACT FROM AUTHOR]
- Abstract: Copyright of New Theatre Quarterly is the property of Cambridge University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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