Staging Beckett: The Impact of Productions of Samuel Beckett's Drama on Theatre Practice and Cultures in the United Kingdom and Ireland (1955 - 2010)

这个雄心勃勃的项目将全面绘制、记录、存档并揭示自1955年以来在英国和爱尔兰专业上演的所有贝克特戏剧的现存作品。它还将试图评估英国和爱尔兰的戏剧从业者——从导演、演员到设计师——自1955年以来如何试图将贝克特的作品塑造成英国和爱尔兰特定的历史和文化条件，以便为作品创造一种独特的“美学”。该项目将试图评估贝克特的戏剧制作对那些从业者的工作，对戏剧导演，设计和表演的当代实践，以及对英国和爱尔兰戏剧文化（戏剧节目，评论等）的影响。塞缪尔·贝克特的戏剧不仅对爱德华·阿尔比、哈罗德·品特、莎拉·凯恩和苏珊·洛里·帕克斯等剧作家产生了重大的国际影响，而且对主流和实验性的当代戏剧实践也产生了重大影响。他的作品吸引了许多知名导演（如彼得·布鲁克、卢克·邦迪、彼得·霍尔、成川由纪夫、黛博拉·华纳和罗伯特·威尔逊）；伦敦西区和百老汇的明星演出；以及实验性的跨学科表演（比如Mabou Mines对贝克特的改编，或者凯蒂·米切尔（Katie Mitchell）对贝克特晚期剧院的装置表演）。它还出现在巡回和地区剧院的节目中。上述所有类别都包括许多英国和爱尔兰的作品，但有影响力的研究，如乔纳森·卡尔布的《贝克特在表演》（1989）和洛伊斯·奥本海姆的《贝克特导演/导演贝克特》（1997）倾向于关注贝克特作为自己作品的导演实践，关注在美国进行的导演或制作（如艾伦·施耐德或乔安妮·阿卡拉蒂斯有争议的《终局之战》），或者偶尔关注一些欧洲导演的作品。比如乔治·塔里。相比之下，在英国和爱尔兰，很少有人关注贝克特作品的许多版本。虽然有一些关于少数导演的学术研究——尤其是彼得·霍尔爵士自1955年英国第一部《等待戈多》制作以来与贝克特的长期合作——但这些描述往往是主观的和轶事性的。最近评论性的关注主要集中在贝克特作为爱尔兰作家，他最近的专著包括艾米丽·莫林的《塞缪尔·贝克特和爱尔兰问题》（2009）和肖恩·肯尼迪的《贝克特和爱尔兰》（2010），但是在爱尔兰和北爱尔兰对贝克特戏剧作品的研究中存在许多空白。其中一些被收录在1984年的一期《爱尔兰大学评论》上，最近，在派克剧院首演的《戈多》（1995）和贝克特电影项目（2001）中完成了工作，其中贝克特的19部舞台剧被拍摄，其中有许多爱尔兰导演，包括尼尔·乔丹、恩达·休斯和约翰·克劳利。1991年，都柏林门剧院举办了19部贝克特的戏剧。然而，在英国和爱尔兰的贝克特剧院的生产范围，以及在英国和爱尔兰的戏剧，或在表演，导演或设计实践（如乔斯林·赫伯特的工作）这些产品对贝克特美学或风格的发展的影响，还有很大的空间进一步研究。此外，几乎没有研究贝克特的戏剧在英国和爱尔兰的地区或巡回演出。该项目将为20世纪下半叶的英国和爱尔兰戏剧提供大量新数据和见解。我们的项目旨在纠正贝克特奖学金这一领域的差距和遗漏，通过承认和传播给公众，学术界和戏剧界一项详细而严谨的研究，该研究将检查塞缪尔·贝克特在英国和爱尔兰戏剧实现的悠久传统。

This ambitious project will set out to comprehensively map, record, archive and bring to light all extant productions of Beckett's plays that have been professionally staged in Britain and Ireland since 1955. It will also attempt to assess how British and Irish theatre practitioners - from directors and actors to designers - have attempted to shape Beckett's work to the specific historical and cultural conditions within Britain and Ireland since 1955 in order to produce a distinctive 'aesthetic' for the work. The project will seek to evaluate the impact of producing Beckett's drama on the work of those practitioners, on contemporary practices of theatre directing, designing and performance, and on British and Irish theatre cultures (theatre programming, reviews etc). Samuel Beckett's theatre has had a major international impact not only on playwrights such as Edward Albee, Harold Pinter, Sarah Kane and Suzan-Lori Parks but also on mainstream and experimental contemporary theatre practice. His work attracts high profile directors (such as Peter Brook, Luc Bondy, Peter Hall, Yukio Ninagawa, Deborah Warner and Robert Wilson); West End and Broadway productions with star casts; and experimental interdisciplinary performance (such as the Mabou Mines' adaptations of Beckett or Katie Mitchell's installation programme of Beckett's late theatre). It has also featured on the programmes of touring and regional theatres. All of the above categories include many British and Irish productions, but influential studies such as Jonathan Kalb's Beckett in Performance (1989) and Lois Oppenheim's Beckett Directing / Directing Beckett (1997) tend to focus on Beckett's practice as a director of own work, on directors or productions undertaken in the United States (such as Alan Schneider or Joanne Akalaitis's controversial production of Endgame), or occasionally on productions by some European directors, such as George Tabori. In contrast, very little critical attention has been paid to the many productions of Beckett's work in Britain and Ireland. While some scholarship exists on a few directors - notably Sir Peter Hall's longstanding engagement with Beckett since the first British production of Waiting for Godot in 1955 - these accounts are frequently subjective and anecdotal. Much recent critical attention has focused on Beckett as an Irish writer with recent monographs including Emilie Morin's Samuel Beckett and the Problem of Irishness (2009) and Sean Kennedy's Beckett and Ireland (2010), but there are many gaps in research on productions of Beckett's theatre in Ireland and Northern Ireland. Some of these were included in an issue of the Irish University Review in 1984, and, more recently, work has been done on the Pike Theatre premiere of Godot (1995) and on the Beckett on Film project (2001), in which 19 of Beckett's stage plays were filmed and which featured a number of Irish directors including Neil Jordan, Enda Hughes and John Crowley. This grew out of the Gate Theatre Dublin Festival of nineteen of Beckett's plays launched in 1991. However, there is much scope for further research on the range of productions of Beckett's theatre in the United Kingdom and Ireland, and on the impact of such productions on the development of a Beckett aesthetic or style in UK and Irish theatre, or on acting, directing or designing practice (as in the work of Jocelyn Herbert). Moreover, hardly any research exists on regional or touring productions of Beckett's drama in Britain and Ireland. This project will offer substantial new data and insights into British and Irish theatre in the second half of the twentieth century. Our project aims to rectify such gaps and omissions in this area of Beckett scholarship through recognising and disseminating to the public, academic and theatre communities a detailed and critically robust study which will examine the long tradition of theatrically realising Samuel Beckett's work in the UK and Ireland.