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An Interview with Tim Parkinson

An Interview with Tim Parkinson LUCY JEFFER Y An Interview with Tim Parkinson During rehearsals for the 1976 production of Footfalls at the Royal Court theatre, Billie Whitelaw described working with Beckett as ‘working with a musician’ (Whitelaw, 1995, 144). She added that acting as May was like performing a piece that ‘worked almost like a trio – sound of voice, scrape of footsteps, the brushed drum-beat’. In conversation with Michael Heath on 4 February 1994, Whitelaw recalled how Beckett himself referred to Happy Days as ‘a sonata for music’ (UoR BC MS 4647). This musicality can be seen throughout Beckett’s process as a writer and director: from early drafts to final performances and publications. In each genre, Beckett’s musicality becomes a central component of his creative process. Whether it is in his collaboration with composers for the radio plays Words and Music and Cascando, use of well-known compositions by Beethoven and Schubert in the teleplays, or the musicality of his prose, Beckett and music has become a rich source of biographical curiosity, intellectual interest, and creative inspiration. Biographical studies of Beckett all mention how music was an important part of his personal life. James Knowlson, his authorised Journal of Beckett Studies 29.2 (2020): http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Beckett Studies Edinburgh University Press

An Interview with Tim Parkinson

Jeffery, Lucy
Journal of Beckett Studies , Volume 29 (2): 12 – Sep 1, 2020
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Publisher
Edinburgh University Press
Copyright
Copyright © Edinburgh University Press
ISSN
0309-5207
eISSN
1759-7811
DOI
10.3366/jobs.2020.0314
Publisher site
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Abstract

LUCY JEFFER Y An Interview with Tim Parkinson During rehearsals for the 1976 production of Footfalls at the Royal Court theatre, Billie Whitelaw described working with Beckett as ‘working with a musician’ (Whitelaw, 1995, 144). She added that acting as May was like performing a piece that ‘worked almost like a trio – sound of voice, scrape of footsteps, the brushed drum-beat’. In conversation with Michael Heath on 4 February 1994, Whitelaw recalled how Beckett himself referred to Happy Days as ‘a sonata for music’ (UoR BC MS 4647). This musicality can be seen throughout Beckett’s process as a writer and director: from early drafts to final performances and publications. In each genre, Beckett’s musicality becomes a central component of his creative process. Whether it is in his collaboration with composers for the radio plays Words and Music and Cascando, use of well-known compositions by Beethoven and Schubert in the teleplays, or the musicality of his prose, Beckett and music has become a rich source of biographical curiosity, intellectual interest, and creative inspiration. Biographical studies of Beckett all mention how music was an important part of his personal life. James Knowlson, his authorised Journal of Beckett Studies 29.2 (2020):

Journal

Journal of Beckett Studies – Edinburgh University Press

Published: Sep 1, 2020

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