※ [本文轉錄自 NTU03DFLL 看板] 作者: elishading () 看板: NTU03DFLL 標題: [公告] 國立臺灣大學外國語文學系學術演講 時間: Fri Nov 24 13:35:29 2006 國立臺灣大學外國語文學系學術演講 DFLL Faculty Colloquium Samuel Beckett in Taiwan: Cross-cultural Innovations and Significance Speaker: Dr. Wei H. Kao (DFLL Assistant Professor) （臺大外文系高維泓助理教授） Time: 3:30 ~ 5:00 pm, Wednesday, December 6, 2006 （2006年 12月6日週三下午3:30-5:00） Venue: DFLL New Conference Room, 1F Old Main Library （臺大舊 總圖一樓外文系新會議室） Abstract: One of the controversies in Beckettian studies is whether his Irishness is discernible in his drama, much of which was first written in French. Although the debate remains unsettled, researchers, including Vivian Mercier, Sighle Kennedy, and Eoin O’Brien, have argued that the playwright presented humour and satire dear to the Anglo-Irish mind, which Jonathan Swift and Oscar Wilde had previously utilised to tackle Irish and British issues in a cynical tone. In the view of these critics, Beckett, succeeding to this satirical tradition and having been an exile to the European mainland, like James Joyce and many of his Irish contemporaries, renovated this tradition by utilising minimalism and absurdism. A number of critics have thus endeavoured to unearth the playwright’s disillusion about, or criticism of, religion, life, and politics in his most obscure art. More specifically, his sense of Irishness was re-characterised in his works, no longer confined to the highly politicized and insular definition agreeable to local activists. To more accurately elaborate how Beckett’s Irishness has created a dialogic platform for the Irish and the world theatre, this paper will exemplify the way in which Taiwan’s theatre groups have adapted and contextualized his plays in a post-modern Asian society which is not less politically divided than the Emerald Isle. Beckett’s drama, consequently, provides Asian directors with more than a utopian but physical approach not only to the issues of identity and language but to complex human conditions that predestine Gogo and Didi’s desperation and helplessness in Waiting for Godot. The intertextuality of Beckett’s drama and its re-adaptations for Taiwan’s audience may thus illustrate how the significance of Irishness can be made inter-culturally available in a border-crossing situation. The skepticism and obscurity of his works may be made more apparent by observing how Asian directors, who mostly received higher education at western institutions, have produced them as vehicles of their own cultural and political agenda, and as a means to connect Taiwan’s modern theatres with European ones in an age of globalisation. Their productions demonstrate the extent to which Beckett has maintained far-reaching influence over his counterparts in world theatre. Materials to be examined include theatrical reviews of Beckettian productions in Taiwan, interviews with directors, journalistic reportage, and translations of the scripts. Beckett’s plays which have been staged in Taiwan since 1988 include Waiting for Godot, Endgame, Play, What Where, Come and Go, Footfalls, Act without Words I, Act without Words II, and Ohio Impromptu. Contact Person: Hsiu-ting Jian (Tel: 33663212) --

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