Members of the Samuel Beckett Research Centre have recently published a number of articles on Beckett and intermediality and transmediality.
Mark Nixon, Co-Director of the Beckett International Foundation, was one of the editors of a special issue of Samuel Beckett Today / Aujourd’hui, Beckett and Intermediality / Beckett, artiste intérmedial.
In Specially for television? Eh Joe, intermediality and Beckett’s drama, Jonathan Bignell analyses tensions between medium specificity and intermediality in Beckett’s first original drama for television, Eh Joe (1966), which exploits features of the medium such as the spatiality of the studio, monochrome images and close-up.
Jonathan Bignall also evaluates the significance of the intermedial migrations that happened to the “Beckett on Film” project in When Beckett on Film migrated to television. The project saw Beckett’s 19 theatre plays performed on stage, then filmed for an international festival, then shown on television in the UK, USA, Ireland and elsewhere.
In Samuel Beckett and intermedial performance: passing between, Anna McMullan analyses two intermedial adaptations of works by Beckett for performance in relation to Ágnes Petho’s definition of intermediality as a border zone or passageway between media, grounded in the “inter-sensuality of perception”.
Bignell, J. (2020) Specially for television? Eh Joe, intermediality and Beckett’s drama. Samuel Beckett Today/Aujourd’hui, 32 (1). pp. 41-54. ISSN 1875-7405 doi: https://doi.org/10.1163/18757405-03201004
McMullan, A. (2020) Samuel Beckett and intermedial performance: passing between. Samuel Beckett Today / Aujourd’hui, 32 (1). pp. 71-85. ISSN 0927-3131 doi: https://doi.org/10.1163/18757405-03201006
McTighe, T., Morin, E. and Nixon, M., eds. (2020) Beckett and Intermediality / Beckett, artiste intérmedial. Samuel Beckett Today / Aujourd’hui, 32 (1). Brill, Leiden.