The Samuel Beckett working group, first convened in 1996, meets every 1–2 years at the IFTR conference. The group provides a forum for discussions of current research approaches in Beckett studies undertaken by scholars around the world. It has consistently had a wide range of international participants from Europe, the Middle East, the Americas, and Asia, and encourages new members from other regions as well.
The group sets topics for each meeting, either adopting the theme of the IFTR conference or focusing on a specific play or theory in the hope of eliciting a lively exchange of ideas. Participants' essays are circulated approximately one month prior to the meeting, and at the actual sessions presenters briefly summarize, but do not read, their papers. Group members then discuss each work in detail for at least 30 minutes, asking questions, offering constructive comments and making suggestions for further research. The group has been meeting every year not only at the IFTR conferences but also at submeetings (Southampton and Tokyo in 2012 and Budapest in 2017) since 2010. So far, two books have resulted from this process and two more books are in the process of publication.
The working group met online in July 2020; while we had fewer participants than in previous years due to the pandemic, the papers and conversation were no less vibrant for all that. Topics of discussion included Beckett's relation to the Anthropocene, natural ecologies and the ecologies of media and technology that permeate his work. The theme for IFTR 2021, Theatre Ecologies, carries over from 2020, therefore papers are welcome for the working group that respond to this. As with previous years, the working group will also continue to provide an open forum for work dealing with any aspect of Beckett's theatre.
In 2010, we had vibrant gathering in Shanghai. The size of the group permitted us to spend, as is traditional for this group, a significant amount of time on each paper and allowed for deep reading and engagement. Papers produced original perspectives on the topics of ecology and catastrophe, Beckett and pedagogy, and Beckett in translation. We commenced our initial session with questions such as: what ways do artists from around the world translate Beckett’s work into their own contexts? How might we trace the intersections between Asian performance traditions and Beckett’s theatre? And, in what ways do artists experiment with the work, while negotiating a longstanding ‘tradition’ in performing Beckett within urban Anglophone / European contexts? Each of the papers addressed these concerns in very different ways and provoked fascinating discussions about the nature of translation, eco-dramaturgy, and ethics.
One of the strengths of this year’s activities lay in the openness of the group. There were a number of papers delivered across the conference that were Beckett-related, some in general panels, others within other working groups and one within the New Scholars’ Forum. As a group, we attended a number of these talks and invited these speakers to attend our final working group session, which we opened up to all Beckett-interested people. Through this, we gathered some new attendees and members and we were delighted also to make connections with scholars from the Asian Performance Working Group. This open session produced a very stimulating discussion that illuminated the research interests of those in the room and the diversity of cultural contexts in which Beckett is continually animated, as well as pointing toward further publications and projects for the group. New members and old will join us for an interim meeting in Tokyo in December, in advance of our next meeting in Galway.
Drawing on Beckett: Portraits, Performances, and Cultural Perspectives. Ed. Linda Ben-Zvi. Tel Aviv: Assaph Books, 2004.
The book contains twenty-one essays by leading Beckett scholars, as well as twenty-four drawings of Beckett by his friend and noted Israeli painter, Avigdor Arikha.
Beckett at 100: Revolving It All. Edited by Linda Ben-Zvi and Angela Moorjani. New York: Oxford University Press, 2008.
This collection of twenty-two essays is based on, but not limited to, essays presented at the Trinity College, Dublin centenary celebration in April 2006. The Beckett Working Group was invited to feature in the central academic program where approximately 40 papers were presented.
Trish McTighe: email@example.com
Convenors in the past:
Linda Ben-Zvi founded the Samuel Beckett Working Group at the IFTR meeting in Jerusalem, Israel, in 1996 and convened till the IFTR meeting in Stockholm, 2016. As an honorary convenor, she is supervising new convenors.
The late Julie Campbell convened the IFTR meetings in Osaka, Japan (with Hori Tanaka) in 2011 and in Barcelona in 2013. She also convened a submeeting in Southampton in 2012. A book commemorating her is now in the process of publishing.
Anita Rakoczy organized a submeeting in Budapest, Hungary, in June, 2017. A book compiling the papers delivered at the meeting is now in the process of publishing.
Matthias Korn convened the IFTR meeting in Sao Paolo in July, 2017.
Mariko Hori Tanaka and Nicholas Johnson convened the meeting in Belgrade 2018.
The next meeting will be held in Virtual-Galway in July 2021.
The Samuel Beckett Working Group will be meeting at the FIRT/IFTR International Federation for Theatre Research Annual Conference 2019. Read more
Call for Papers Samuel Beckett Working Group 'Theatre and Migration in Beckett', Belgrade, Serbia 9-13 July, 201801 December, 2017 by Mariko Tanaka | 0 comments
Samuel Beckett Working Group will next meet at the Studio-Laboratory for Performing Arts of the Faculty of Dramatic Arts, Belgrade, Serbia, 9-13, July, 2018. Read more
The Samuel Beckett Working Group will be meeting at the FIRT/IFTR International Federation for Theatre Research Annual Conference Read more
Building on the discussions during the past few years, which dealt with various performances of Samuel Beckett produced in different cultures and locations, the working group will continue to address how we can bridge productions of Beckett’s theatre in the past to the present, and how we can situate the staging of Beckett’s work in different cultural contexts. In other words, we are interested in the question as to how we can historicise the legacies of productions of Beckett’s theatre, including adaptations of his text. Read more