Beckett in performance by Jonathan Kalb

The writing is not about something, it is that something in itself.

The texts are not about experiences, they are experiences themselves.

In ”Company” : she speaks of herself as of another.

The voice is lying, many Beckett narrators lie.

The primary experience of ”Rockaby” is that of a lullaby
”Rockaby” is not about dying, not about coming to die, it is about accepting death
no subtext is a privilege.

The tension between silence and words and between immobility and movement,
all gestures move within immobility the texts are poetry and music, the actor should experience self denial.

Beckett sees his works as compositions in grey, tiny words drained in colour, and the
actor´s challenge in them is to achieve ideal shades of colourlessness.

“My work is a matter of fundamental sounds made as fully as possible and I accept
responsibility for nothing else.” – Samuel Beckett (SB)

“It is difficult for me to keep writing words without having the feeling that it is a lie.” – SB
“I distrust words.” – SB

“I admire Caravaggio, he focused exclusively on foreground figures, surrounding them
with darkness, and lighting them with a single source that generates sharp shadows” – SB

Largeness in tininess.

The light is always faint, to evoke the past, memory, night and dreams.

Characterized by duality, the negativity always stands tongue-in-cheek alongside a
certain celebration of isolation.

The void, the emptiness and some kind of spark of something there that takes place,
to be seen and heard and even ignored.

It sometimes begins to feel as if you are reading about the structure of your own
thoughts.

Beckett is avant-garde to the conventional and conventional to the avant-garde.

The dignity in great performances is always to some extent nonrepresentational.

The Brechtian Verfremdungseffekt is a form of what is called meta-theater, only in
Beckett it becomes natural, it is not linked with theory.

The problem with Beckett is explaining Beckett.

”Krapp’s last tape”, Beckett says in rehearsal, ”The man is dead the next day.”

No colour, don’t act, no emotions, just say it, don’t do it, do nothing.

Text excerpts chosen by Kjetil Skøien