It is a theatrical truism that Samuel Beckett remains good box office: the Sydney Theatre Company recently announced its intention to take the 2013 production of Waiting for Godot to the Barbican in 2015, with the original cast. Another truism – adapted from a remark once made by Edward Albee – is that at any moment a Beckett production occurs somewhere in the world. The centenary of his birth in 2006 gave renewed focus to this sustained interest in Beckett’s work, but the Blue Angel/Gate Theatre Beckett on Film Project of 2001 and James Knowlson’s authorised biography of 1996, Damned to Fame, helped set the tone for this new wave of popularity.
'Echo's Bones' by Samuel Beckett
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Mark Byron is Senior Lecturer in Modern British and American Literature at the University of Sydney. He teaches and publishes across the genres and practices of Modernism: prose, poetry, drama, and film, as well as textual and editorial theory. His current work is in developing digital scholarly editions of complex Modernist texts and their manuscripts, including the Watt module of the Samuel Beckett Digital Manuscript Project. His work also deals with critical and theoretical reflection upon scholarly editing techniques. He has published on nineteenth-century and Modernist literature, and is the author of Ezra Pound's Eriugena (Bloomsbury, 2014).
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