Beckett's televisionplays confound the spectator, not least because of their representational ambiguity, their perplexing affective qualities and the singularity of their poetics. Of the five plays Beckett wrote specifically for television, Ghost Trio , his second teleplay, written in 1975, is considered by most critics to be his finest work for the medium. Filmed by the BBC in October 1976, and by Süddeutscher Rundfunk (SDR) the following year, it opens with V, the female voice, describing the set as ‘grey’ in its
, production methods on Beckett's televisionplays were unusual in their relationships between image and sound and in the technology used to realise them (Bignell, 2003 ). One of the similarities between the 1986 and 2013 versions is that both were shot as-live, with multiple cameras. In other words, each actor had a camera and a light just a few feet away from his face, and all of the cameras were shooting at the same time while the lines were spoken in a continuous performance. By contrast, after the waning of live television drama production in the 1970s, the great
media, especially in terms of his theatrical output. As such there have also been dedicated studies of Beckett's TVplays, such as monographs by Graley Herren ( Samuel Beckett's Plays on Film and Television ; 2007 ) or Jonathan Bignell ( Beckett on Screen: The Television Plays ; 2009 ), and a growing number of essays. Beckett's work in film and his relationship with cinema has similarly spawned a variety of approaches, including Anthony Paraskeva's Samuel Beckett and Cinema ( 2017 ). Beckett's radio plays have also increasingly become the object of scholarly
Brits , Baylee
( 2017 ), ‘ Ritual, Code, and Matheme in Samuel Beckett's Quad ’, Journal of Modern Literature , 40 : 4 , pp. 122–33 .
Bryden , Mary
( 1995 ), ‘ Quad: Dancing Genders ’, in Catharina
Wulf (ed.), ‘The Savage Eye/L’Œil Fauve: New Essays on Samuel Beckett's TelevisionPlays’, Samuel Beckett Today / Aujourd’hui, 4, pp. 109–22 .