In 2011 I staged Waiting for Godot at the Occupy Wall Street Protest as part of my research into the performance history of this play in real-world crisis settings. The production resonated with earlier productions of the play in prisons, during wars, and after floods and raises the question: how does this classic text metamorphose when staged in non-traditional performance spaces? How does this performance illuminate something new about the play, and something new about the Occupy protest?
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For details see Lance Duerfahrd, The Work of Poverty: Samuel Beckettâs Vagabonds and the Theatre of Crisis (Columbus: Ohio State University Press, 2013), 178â190.
| å ¨é¨æé´ | è¿å»ä¸å¹´ | è¿å»30天 | |
|---|---|---|---|
| æè¦æµè§æ¬¡æ° | 53 | 0 | 0 |
| å ¨ææµè§æ¬¡æ° | 583 | 74 | 7 |
| PDFä¸è½½æ¬¡æ° | 226 | 36 | 1 |
In 2011 I staged Waiting for Godot at the Occupy Wall Street Protest as part of my research into the performance history of this play in real-world crisis settings. The production resonated with earlier productions of the play in prisons, during wars, and after floods and raises the question: how does this classic text metamorphose when staged in non-traditional performance spaces? How does this performance illuminate something new about the play, and something new about the Occupy protest?
| å ¨é¨æé´ | è¿å»ä¸å¹´ | è¿å»30天 | |
|---|---|---|---|
| æè¦æµè§æ¬¡æ° | 53 | 0 | 0 |
| å ¨ææµè§æ¬¡æ° | 583 | 74 | 7 |
| PDFä¸è½½æ¬¡æ° | 226 | 36 | 1 |