Beckett on Web 2.0
GRIN Verlag, 2010 - 24 pages
Seminar paper from the year 2009 in the subject Speech Science / Linguistics, grade: 1,0, University of Siegen (Sprach-, Literatur- und Medienwissenschaften), course: Samuel Beckett - Playwright, Novelist and Writer for the TV-Screen, language: English, abstract: Samuel Beckett certainly was one of the most important artists of the 20th century. His literature and drama changed the way people perceive arts and the tragic of human existence, further the way media displays them. Although Beckett was rigid regarding the realisation of his plays he was very open towards new media and techniques. He was up to date and wrote plays for the theatre, the radio and even for television. But he died before he could have used the possibilities the internet offers nowadays. Nevertheless, Beckett is omnipresent in today‟s internet. You just have to type his name into Google and you will find 1.470.000 hits referring to him.1 Especially his presence on Youtube, a video community on the internet, is astonishing. There people have found many ways to adapt one or several of Beckett‟s works the way they wanted to. One could raise the question if this was what Beckett wanted, if this could have been avoided or if this was part of a logical consequence of the technological progress and the developments the internet has gone through within the last decade. Having Paul Virilio‟s media theory in mind, the Aesthetics of Disappearance, in which he argues about the speed of information and the transformation of media, there is always a next step in terms of media, which in the end has led to the internet as it is today. Beckett always took that next step himself. Therefore, Beckett being part of the internet is the logical consequence of his work, of the way he used or was intrigued by different media, of the way he brought art to the latest medium - or is it not? Throughout this paper I will argue that Beckett‟s work Play needed to be placed
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adaptation of Play Aesthetics of Disappearance akademische Texte analyse Play argue that Beckett’s arts Becker Beckett 9 Beckett Estate Beckett on Film Beckett-Festival Beckett’s dramatic texts Beckett’s Play broadcast camera characters chorus cinema consumers Damned to fail...fail delocalisation different links Eike Rüdebusch Beckett Esslin exact repetition fail...fail better GRIN film version flicker fourth wall Gate Theatre GRIN Verlag HyperText inexhaustible curiosity inquisitor internet user Kenner light listening logical consequence Lommel 41 Lommel 42 machine Meckel medium omnipresent absence Phonogène photography picturing everyday Play as Text play button Play fits Play includes Play on Film Play was written production of Play programming language protagonists radio adaptation realisation remix Schoenmakers screen second act seen Seibert speak spotlight stage version techniques television tempo text of Play theatre audience theatrical three urns today’s tripartite underlined upload version of Play videos Virilio voices Voigts-Virchow voyeurism Youtube Zilliacus 151