Comments on: Whitelaw’s Beckett’s Not I

By: Rich

Rich — Wed, 28 Jul 2010 11:39:51 +0000

Corey, apparently, Beckett had a difficult time finding a place for the Auditor on the stage, not feeling there was an adequate place for the character.

I get what you’re saying about finding a way to have the viewer “lost in the dark.” It’s the voice emanating from Mouth that is so important, so insistent, and completely fascinating. Beckett finds a way to compress an entire life into a short monologue where you’re only allowed to see the mouth. It’s a powerful work, and one of my favorite pieces by Beckett.

By: Rich

Rich — Wed, 28 Jul 2010 11:39:00 +0000

Corey, apparently, Beckett had a difficult time finding a place for the Auditor on the stage, not feeling there was an adequate place for the character.

By: Corey

Corey — Tue, 27 Jul 2010 22:13:06 +0000

I guess it does succeed as more of a film, but that isn’t a difficult gesture when you consider you must deal with two bodies in a space (there is of course the hooded figure) in pitch darkness, bar the mouth. If I were to make a film version I think I’d deal with the relative possible sizes of the mouth in darkness, since all that shifting standstill shots do is offer a different hypothetical audience position. I would have had the viewer become lost in the dark, since this play makes it the otherwise most present ‘presence’. Interesting thoughts though on the success as a film version.

By: Corey

Corey — Tue, 27 Jul 2010 22:13:00 +0000

By: Rich

Rich — Tue, 27 Jul 2010 12:38:32 +0000

Yes. But I shouldn’t have been so flippant. Instead I should have said that as far as comparing film versions, I prefer the Neil Jordan-directed Moore to Whitelaw’s lips surrounded by black. I think the latter is an acceptable adaptation of the stage play. But the former is a much better film, using different angles to highlight different moods and themes. It doesn’t bother me that I see Moore take a seat in the chair, that I can see her whole face, etc. I realize these liberties probably offend a good number of Beckett fans. Oh, well. But I’m not watching a play at this point. I’m watching a movie.

Though if I were to see it on the stage, yes, I’d go with Whitelaw over Moore.

By: Rich

Rich — Tue, 27 Jul 2010 12:38:00 +0000

Though if I were to see it on the stage, yes, I’d go with Whitelaw over Moore.

By: Corey

Corey — Mon, 26 Jul 2010 23:01:13 +0000

You really believe that? The staging her as an actor, first of all? I mean, I’m not saying that Moore did a bad job, but in comparison to Billie Whitelaw? The woman who I would argue is responsible for a certain interpretation of Beckettian diction (the keen understanding of pace, the impeccable clarity and pronunciation of words amongst the extreme degrees of slowness and speed she manages) that is now taken for granted. You are the first person I have ever read or heard feeling this way. I would be very interested in hearing your reasons.

By: Corey

Corey — Mon, 26 Jul 2010 23:01:00 +0000

By: John Domini

John Domini — Mon, 26 Jul 2010 20:38:40 +0000

Blake, thanks for posting. Marshall, he wrote a couple “Play w/out Words;” try one of those.

By: John Domini

John Domini — Mon, 26 Jul 2010 20:38:00 +0000

Blake, thanks for posting. Marshall, he wrote a couple “Play w/out Words;” try one of those.