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L L E W E L LY N B R O W N The voice represents a crucial question in the approach to Beckettâs work, both in his ï¬ction and in his theatrical productions.1 This question is important not only because the voice is omnipresent but also because of its eminently problematic nature: the voice is a theme evoked in certain novels, but it is also brought into action as a structure in the form of the monologue (The Unnamable, Company), and as a staged reality in the theatre. However, the most salient difï¬culty resides in its localisation and it attribution. No problem seems to arise as long as the voice remains enclosed within a reassuring corporeal identity: characters such as Vladimir and Estragon, Hamm and Clov, appear to be authors of their own somewhat stylised utterances. But what happens when voices emanate from outside, speaking in the place of the ï¬gures on the stage, or addressing them? As the voice is enigmatic by nature, it is important to approach it in a coherent manner, with adequate conceptual tools. Two facets of the question need to be taken into account. On the one hand, it is indisputable that
Journal of Beckett Studies – Edinburgh University Press
Published: Sep 1, 2011
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