Reveals how the body in Beckett, embedded in its material environment, exhibits embodied agency This book argues that the abject, decrepit body in Beckett does not signal the impossibility of agency but demands its reconceptualisation. Analysing the representation of the body in relation to the environment in Beckett's work, the author interrogates the power to do and act. Separating dynamic interaction from willed intention, Amanda Dennis shows how Beckett's oeuvre refashions subjectivity in dialogue with a disintegrating environment. The book provides a phenomenological reading of Beckett to argue that sensation and embodiment support our interactions with our material world, enabling possibilities for embodied agency in collaboration with our physical and linguistic surroundings. Amanda Dennis is Assistant Professor of Comparative Literature and English at the American University of Paris.

Providing an overview of existing scholarship on Beckett and performance, this title will place Beckett's drama for theatre, film, television and radio in the context of highly contemporary discourses of subjectivity, embodiment, performance and technology.

The representation and experience of embodiment is a central preoccupation of Samuel Beckett’s drama, one that he explored through diverse media. McMullan investigates the full range of Beckett’s dramatic canon for stage, radio, television and film, including early drama, mimes and unpublished fragments. She examines how Beckett’s drama composes and recomposes the body in each medium, and provokes ways of perceiving, conceiving and experiencing embodiment that address wider preoccupations with corporeality, technology and systems of power. McMullan argues that the body in Beckett’s drama reveals a radical vulnerability of the flesh, questioning corporeal norms based on perfectible, autonomous or invulnerable bodies, but is also the site of a continual reworking of the self, and of the boundaries between self and other. Beckett’s re-imagining of the body presents embodiment as a collaborative performance between past and present, flesh and imagination, self and other, including the spectator / listener.

This book brings together some of the most important philosophical works on the body. These are then subjected to a critical analysis of what bodies 'do' and 'have done to them' in contemporary social life and particularly in education. The author acknowledges the importance of discursive bodies while focusing attention on the active, experiencing body and its anchoring in the 'creatural'. Thinking in these terms, the author argues, can better situate human beings in their environment, thus emphasizing a kind of 'ecological notion of subjectivity’, in which place-based existence is understood anew.

An important reading of Beckett that foregrounds the importance of the body and the senses in his work.

The Myth of Identity in Modern Drama is the first book-length study on existential authenticity and its relation to ontological embodiment treated via analyses of characters of modern drama. Furthermore, it offers new methods of exploring characters and characterization and new ways of thinking about identity. Through its investigations of the plays of Samuel Beckett, Eugene Ionesco and Jean-Paul Sartre, the book shows that the study of embodiment will allow for a new method of analyzing characters and how they form, or attempt to form, ever-changing identities.

In Agency and Embodiment, Carrie Noland examines the ways in which culture is both embodied and challenged through the corporeal performance of gestures. Arguing against the constructivist metaphor of bodily inscription dominant since Foucault, Noland maintains that kinesthetic experience, produced by acts of embodied gesturing, places pressure on the conditioning a body receives, encouraging variations in cultural practice that cannot otherwise be explained. Drawing on work in disciplines as diverse as dance and movement theory, phenomenology, cognitive science, and literary criticism, Noland argues that kinesthesia—feeling the body move—encourages experiment, modification, and, at times, rejection of the routine. Noland privileges corporeal performance and the sensory experience it affords in order to find a way beyond constructivist theory’s inability to produce a convincing account of agency. She observes that despite the impact of social conditioning, human beings continue to invent surprising new ways of altering the inscribed behaviors they are called on to perform. Through lucid close readings of Marcel Mauss, Maurice Merleau-Ponty, Bill Viola, André Leroi-Gourhan, Henri Michaux, Judith Butler, Frantz Fanon, Jacques Derrida, and contemporary digital artist Camille Utterback, Noland illustrates her provocative thesis, addressing issues of concern to scholars in critical theory, performance studies, anthropology, and visual studies.