Combining phenomenological analysis with dance and performance analysis and affect theory, A Theatre of Affect: The Corporeal Turn in Samuel Beckett’s Drama takes stock of the various ways in which the body in Samuel Beckett’s drama participates in the affective ecology of performance. Affect is here located in the materiality of the body and discussed in relation to the symbolic significance of, for instance, the effort, direction, speed, or duration of a posture, movement, or gesture. Although the meaning of the body in Beckett’s stage-images cannot be mapped onto conventional discursive ‘meanings’, the significance of the body’s formal modulations is affective in the sense that the import of such changes is immediately recognised and felt as ‘significant’ by spectators. Beckett’s theatre of affect therefore predicates on the infinitesimal stirrings of subliminal meaning-making that continuously shape and create the world in experience.
关于作者
Charlotta P. Einarsson received her Ph D from Stockholm University for the thesis Mis-Movements: The Aesthetics of Gesture in Samuel Beckett’s Drama. Although a literary scholar, her previous experience as a dancer has continued to guide her research into the significance of the body in literature and art. Charlotta’s forthcoming publications include a study on the reception of Samuel Beckett’s drama in Sweden.
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