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Waiting for Godot and Happy Days

  • Textbook
  • © 1990

Overview

Authors:
  1. Katharine Worth
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Part of the book series: Text and Performance (TEPE)

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Table of contents (20 chapters)

  1. Front Matter

    Pages 1-8
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  2. Introduction

    1. Front Matter

      Pages 9-9
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    2. Choice of Plays

      • Katharine Worth
      Pages 9-10

    3. English and French Versions

      • Katharine Worth
      Pages 10-10

  3. Text

    1. Front Matter

      Pages 11-11
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    2. Waiting for Godot

      1. Note on the Text
        • Katharine Worth
        Pages 11-11
      2. The Situation
        • Katharine Worth
        Pages 11-12
      3. Structure and Setting
        • Katharine Worth
        Pages 12-14
      4. Rhythm, Language and Style
        • Katharine Worth
        Pages 14-18
      5. The Pairs
        • Katharine Worth
        Pages 18-33

    3. Happy Days

      1. Note on the Text
        • Katharine Worth
        Pages 33-34
      2. The Situation
        • Katharine Worth
        Pages 34-34
      3. Structure and Setting
        • Katharine Worth
        Pages 35-36
      4. Rhythm, Language and Style
        • Katharine Worth
        Pages 36-47
      5. Comedy or Tragedy?
        • Katharine Worth
        Pages 47-54

  4. Performance

    1. Front Matter

      Pages 55-55
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    2. General Note

      • Katharine Worth
      Pages 55-56

    3. Choice of Productions

      • Katharine Worth
      Pages 56-58

    4. Waiting for Godot

      1. Note on the Schiller-Theater West Berlin 1975 Production
        • Katharine Worth
        Pages 58-61
      2. Royal Exchange Theatre Company, Manchester, 1980
        • Katharine Worth
        Pages 61-73
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Keywords

About this book

A study of Waiting for Godot and Happy Days as texts for performance, with detailed accounts of four performances: Waiting for Godot at the national Theatre, London, in 1987, and at the Royal Exchange Theatre, Manchester; Happy Days with peggy Ashcroft, in 1976, and Billie Whitelaw in 1979. There is discussion of structure and setting, rhythm, language and style, and characterisation. Textual revisions made by Beckett himself in the course of directing the plays are noted in relation to the National Theatre production which incorporated some of them.

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