Access the full text.
Sign up today, get DeepDyve free for 14 days.
References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.
Jonathan Heron: I would like to focus on Krapp's Last Tape (KLT) at the Royal Court Theatre (2006) and would like you to outline the circumstances that led to you directing Harold Pinter in the role of Krapp. Ian Rickson: I was curating the 50th anniversary celebrations at the Royal Court, and was thinking about the theatrical lineage from Joyce to Beckett, Beckett to Pinter, and then Pinter onwards, as influences and shapers of 20th century drama and art. I got to know Harold and had heard him talk about his friendship with Samuel Beckett. It felt fitting to fuse these two artists together in celebrating the Royal Court's anniversary by asking Harold to play Krapp's Last Tape these two artists who have shaped so much. I rang him and said, `I want you to think about this', and he said, `I'll think about it', and within hours said `meet me for lunch'. I met him for lunch and he said he'd love to do it. That was approximately nine months before we actually did it, and unfortunately Harold, who had fought off cancer already and was in recovery then got a secondary, really difficult illness, which
Journal of Beckett Studies – Edinburgh University Press
Published: Apr 1, 2014
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.