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BECKETT AND RADIO: The Radioactive Voice

BECKETT AND RADIO: The Radioactive Voice BECKETT AND RADIO: The Radioactive Voice Kim Conner Radio drama offers Beckett a form that, on the one hand, is intimate, direct, and expansively imaginative; and on the other hand, is solitary, uncertain and unverifiable. With radio, he gains full access to the multivalent associations and possibilities of the human voice, and is able to explore the relationship between that voice and identity, that voice and materiality, and that voice in time and space. The necessary reduction of the drama to only sound provides Beckett with an opportunity to explore edges as they can be drawn acoustically and linguistically, without reference to actual vision. Edges are important because they define relationship. My ability to know something about my identity, about my material being, about when and where I am depends on my ability to recognize the edges between myself and you, between my body and the rest of the world, between this time and that time, and between this place and that place. These edges, as they can be acoustically drawn, are the subject of what follows. The Voice and Identity When we go to a stage play, we develop our understanding of it from a comprehension of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Samuel Beckett Today / Aujourd'hui Brill

BECKETT AND RADIO: The Radioactive Voice

Samuel Beckett Today / Aujourd'hui , Volume 6 (1): 303 – Dec 8, 1997

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References (1)

Publisher
Brill
Copyright
© Copyright 1997 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0927-3131
eISSN
1875-7405
DOI
10.1163/18757405-90000070
Publisher site
See Article on Publisher Site

Abstract

BECKETT AND RADIO: The Radioactive Voice Kim Conner Radio drama offers Beckett a form that, on the one hand, is intimate, direct, and expansively imaginative; and on the other hand, is solitary, uncertain and unverifiable. With radio, he gains full access to the multivalent associations and possibilities of the human voice, and is able to explore the relationship between that voice and identity, that voice and materiality, and that voice in time and space. The necessary reduction of the drama to only sound provides Beckett with an opportunity to explore edges as they can be drawn acoustically and linguistically, without reference to actual vision. Edges are important because they define relationship. My ability to know something about my identity, about my material being, about when and where I am depends on my ability to recognize the edges between myself and you, between my body and the rest of the world, between this time and that time, and between this place and that place. These edges, as they can be acoustically drawn, are the subject of what follows. The Voice and Identity When we go to a stage play, we develop our understanding of it from a comprehension of

Journal

Samuel Beckett Today / Aujourd'huiBrill

Published: Dec 8, 1997

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