Parallels in Beckett and Pinter

Samuel Beckett and Harold Pinter are two of the
giants of 20th century theatre. ''What Where''
and ''One for the Road'' are both late works;
superficially similar with their common theme of
interrogation. Their sharp insights into human
nature blend together perfectly with their precise,
stripped back style. In this book, the reader is
taken on an artistic journey, gradually discovering
how these plays function, and the similarities and
differences between their rehearsal processes. How
does an actor approach his task faced with the
challenge of these two plays? Theatrical features
such as language, characterisation and physicality
are discussed in detail. And how does an audience
react to these plays - can they be defined as
political theatre? It will be of interest to theatre
directors, actors, academics, theatre-goers and
anyone interested in the process of how theatre is
made.

Autorentext

Catherine McFadden is a graduate of Trinity College Dublin and University College Cork, where she completed her Master's degree in Drama and Theatre Studies. Samuel Beckett's 'What Where' and Harold Pinter's 'One for the Road' was the subject of her Master's thesis. She now works as a theatre director and drama facilitator.

Klappentext

Samuel Beckett and Harold Pinter are two of the giants of 20th century theatre. 'What Where' and 'One for the Road' are both late works; superficially similar with their common theme of interrogation. Their sharp insights into human nature blend together perfectly with their precise, stripped back style. In this book, the reader is taken on an artistic journey, gradually discovering how these plays function, and the similarities and differences between their rehearsal processes. How does an actor approach his task faced with the challenge of these two plays? Theatrical features such as language, characterisation and physicality are discussed in detail. And how does an audience react to these plays - can they be defined as political theatre? It will be of interest to theatre directors, actors, academics, theatre-goers and anyone interested in the process of how theatre is made.