The Beckettian actor has been known to undergo physical and mental suffering in order to fulfil the text. Like the Beckett characters they play, they too are stuck, isolated, cut off, distant, subjected to stimuli, and often tormented. The phrase ‘to act’ cannot be easily attributed to the Beckettian actor, for they are often at the mercy of the writer. Extending the ‘voice’ of practice in this volume, this essay explores what happens to the actor’s body — that being my own — during the rehearsal and performance process for Samuel Beckett’s plays.
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