Diagramming the Verbal/Visual Template of Existence: Beckett on the Performance of Being

Posted: February 19, 2011 in Uncategorized

Samuel Beckett, Come and Go,  (1965)

Come and Go, Beckett hand directions for final scene

Samuel Beckett- FILM (1965) 1/2

Samuel Beckett- FILM (silent 1965) 2/2

Dir: Alan Schneider – Samuel Beckett’s Film. The twenty-minute exploration of sound and sight, Ideal matter and silent presence is almost an entirely aurally-negated (it does have a single sound, so my phraseology) meditation on the nexus of the gaze and being. Buster Keaton navigates the landscape of the social/historical visual and becomes the hub of the multiplicities of invisiblities of the unseen individual who struggles for existence.

Beckett and Keaton during filming of "Film"

Foxrock provides the following synopsis: Samuel Beckett’s only venture into the medium of cinema, Film was written in 1963 and filmed in New York in the summer of 1964, directed by Alan Schneider and featuring Buster Keaton. For the shooting Mr. Beckett made his only trip to America. The film, which has no dialogue, takes its basis Berkeley’s theory Esse est percepti, that is “to be is to be perceived”: even after all outside perception — be it animal, human or divine — has been suppressed, self perception remains. Film was edited by Sydney Meyers and the cinematography was by Boris Kaufman, both of whom were preeminent in their fields. Film was produced by Barney Rosset and Evergreen Theater.

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