Abstract
While Beckett's minimalism seems to draw his theatre further into its centre of gravity, it also pushes it in a counter move to its medial boundaries. This article examines Beckett's most compact piece, Breath (1969), in the context of the major changes in the art world of the 1960s - particularly, the emergence of "new realist" sensibility in France - and suggests its consideration as a manifestation of "new theatre," which blurs the line between theatre and the plastic arts.
Original language | English |
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Pages (from-to) | 423-433 |
Number of pages | 11 |
Journal | Samuel Beckett Today - Aujourd hui |
Volume | 22 |
DOIs | |
State | Published - 2011 |
All Science Journal Classification (ASJC) codes
- Literature and Literary Theory