Happy Days: from stage to screen. A way to approach Samuel Beckett and his absurdity to a public that is not traditionally close to his type of art

Authors

  • Ana Bárbara Pedrosa

Keywords:

Beckett, theatre, cinema, happy days, absurdness

Abstract

O objetivo deste estudo consiste na análise do projeto (Beckett on Film) que adaptou Dias Felizes, uma das peças de Samuel Beckett, escrita entre 8 de outubro de 1960 e 14 de maio de 1961, ao cinema. No decorrer do artigo, é dada uma atenção especial às características visuais e à natureza concomitantemente humana e irreal das personagens de Beckett. Finalmente, é dada uma perceção global do panorama literário Beckettiano, o que inclui o projeto cinematográfico que fez com que os desejos do autor, de inexistência de variações relativamente ao que criou, prevalecessem.

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References

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FILMOGRAPHY:

• www.beckettonfilm.com

• Happy Days (2001). Dir. Patricia Rozema, Blue Angel Films and Tyrone Productions.

• Krapp’s Last Tape (2001). Dir. Atom Egoyan, Blue Angel Films and Tyrone Productions.

• Not I (2001). Dir. Neil Jordan, Blue Angel Films and Tyrone Productions.

• Ohio Impromptu (2001). Dir. Charles Sturridge, Blue Angel Films and Tyrone Productions.

• Play (2001). Dir. Anthony Minghella, Blue Angel Films and Tyrone Productions.

• Rough for Theatre I (2001). Dir. Kieron J. Walsh, Blue Angel Films and Tyrone Productions.

• Rough for Theatre II (2001). Dir. Katie Mitchell, Blue Angel Films and Tyrone Productions.

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Published

2016-02-03

How to Cite

Pedrosa, A. B. (2016). Happy Days: from stage to screen. A way to approach Samuel Beckett and his absurdity to a public that is not traditionally close to his type of art. Millenium - Journal of Education, Technologies, and Health, (41), 37‐46. Retrieved from https://revistas.rcaap.pt/millenium/article/view/8206

Issue

No. 41 (16): dezembro de 2011

Section

Articles

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