SAMUEL

BECKETT
SUMMER
SCHOOL

SAMUEL
BECKETT
SUMMER
SCHOOL

PROGRAMME
of the 2016 Samuel Beckett Summer School

7 12 August 2016
TRINITY COLLEGE DUBLIN
The School of English &
The School of Drama, Film and Music

Beckett Summer School Venue Guide

Lavazza Vaults:
Daily Lunch

Front Gate of
Trinity College

Graduate
Memorial
Building (GMB)

Nassau Street
Gate (campus
access to Arts
Building)

Old Library
(Launch Event)

Players Theatre
and Samuel
Beckett Theatre

Arts Building
Dunne &
Crescenzi

Trinity Long
Room Hub
(Lectures)

Pearse Street
DART Station

Goldsmith
Hall (rooms)

Table of Venues
SUMMER SCHOOL ACADEMIC PROGRAMME:
Graduate Memorial Building (GMB) Arrival Registration, Welcome Event
Trinity Long Room Hub (First Floor) Morning Lectures, Manuscripts Seminar, Plenaries
Samuel Beckett Centre (Players Theatre) Performance Workshop / Beckett Laboratory
The Old Library (The Long Room) Monday Launch Event
Arts Building: Bilingual Beckett (3071), Beckett & Music (3106)
SUMMER SCHOOL PUBLIC PROGRAMME AND PERFORMANCES:
Samuel Beckett Centre (Samuel Beckett Theatre) Mouth on Fire, Olwen Four, Pan Pan
General Post Office (GPO, off campus: OConnell Street) Barry McGovern
Trinity Long Room Hub (Neill Lecture Theatre) Catherine Laws

MEETING POINTS for OFF-CAMPUS EVENTS:

FRONT GATE 6:30 Tuesday for walk to GPO
NASSAU GATE 2:15 Wednesday for Tour of Beckett Country
NASSAU GATE 7:15 Friday for Howth Yacht Club bus
SUMMER SCHOOL SOCIAL PROGRAMME & MEALS:
Doyles Pub (College Green/Fleet Street) Sunday Welcome Drinks
The Buttery (The Lavazza Vaults) Daily Lunch (on campus)
Dunne & Crescenzi (South Frederick Street) Monday Dinner (optional)
Wynns Pub (Abbey Street) Tuesday post-GPO Conversation (optional)
Stags Head Pub (Dame Lane) Wednesday Pub Quiz
Howth Yacht Club (Howth Harbour) Friday Banquet

Schedule/Venue Quick Reference

Sunday 7 August

Monday 8 August
Monday 8 August

Tuesday 9 August

Thursday 11 August

Wednesday 10 August

Wednesday 10 August

Thursday 13 August

Tuesday 9 August

Friday 12 August

Friday 14 August

FULL SCHEDULE
SUNDAY 7 AUGUST 2016
PUBLIC PROGRAMME / LINKING EVENT MOUTH ON FIRE
4.00pm - 5.15pm, Samuel Beckett Theatre:
What Would I Do Without This Silence / Cad A Dhanfainn Gan An Tost Seo
Becketts Poetry in Irish, French, and English, created by Mouth on Fire
An event supported by UNESCO/City of Literature and Foras na Gaeilge
REGISTRATION and WELCOME RECEPTION
5.30pm - 7.00pm, Graduate Memorial Building (GMB):
Registration for Summer School opens, reception for registered participants
Introduction of 2016 Faculty
7.30pm onward, Doyles Pub, College Green (entrance off Fleet Street):
All students, staff, and friends of the Summer School welcome

MONDAY 8 AUGUST 2016

8.45am - 9.30am, Graduate Memorial Building (GMB): Registration continues
LECTURE 1 RNN McDONALD
9.30am - 11.00am, Neill Lecture Theatre, Trinity Long Room Hub (First Floor):
Valuing Beckett (chair: Nicholas Johnson)
COFFEE BREAK 11.00am - 11.30am, Ideas Space, Trinity Long Room Hub (Second Floor)

MONDAY 8 AUGUST 2016 (continued)

LECTURE 2 ANGELA MOORJANI
11.30am - 1.00pm, Neill Lecture Theatre, Trinity Long Room Hub (First Floor):
Becketts Containers or What the Archive Tells Us about Beckett and Buddhism
(chair: Dirk Van Hulle)
LUNCH 1.00pm - 2.30pm, Lavazza Vaults, The Buttery, Dining Hall, Front Square
SEMINAR SESSIONS
2.30pm - 5.30pm, Various Locations:
Trinity Long Room Hub (Galbraith Seminar Room, first floor)
Becketts Manuscripts / led by Mark Nixon and Dirk Van Hulle
Arts Building (Room 3071)
Bilingual Beckett / led by Nadia Louar
Arts Building (Room 3106)
Beckett and Music / led by Catherine Laws
Samuel Beckett Centre (Players Theatre)
Beckett Performance Workshop / Samuel Beckett Laboratory 2016
Led by Jonathan Heron and Nicholas Johnson
BECKETT SUMMER SCHOOL OFFICIAL LAUNCH
6.00pm, The Long Room, The Old Library
Remarks by Nicholas Johnson, co-director of the Beckett Summer School
Opening of the Beckett Manuscripts special display
7.30pm, Optional Dinner Arrangement: Dunne & Crescenzi, South Frederick Street

TUESDAY 9 AUGUST 2016

LECTURE 3 MATTHEW FELDMAN
9.30am - 11.00am, Neill Lecture Theatre, Trinity Long Room Hub (First Floor):
suggesting pursuit of knowledge at some period: On Preparing Becketts
Philosophy Notes for Publication (chair: Angela Moorjani)
COFFEE BREAK 11.00am - 11.30am, Ideas Space, Trinity Long Room Hub (Second Floor)
LECTURE 4 DAVID PATTIE
11.30pm - 1.00pm, Neill Lecture Theatre, Trinity Long Room Hub (First Floor):
Other Archives (chair: Rnn McDonald)
LUNCH 1.00pm - 2.30pm, Lavazza Vaults, The Buttery, Dining Hall, Front Square
SEMINAR SESSIONS
2.30pm - 5.30pm, Various Locations:

TUESDAY 9 AUGUST 2016 (continued)

Trinity Long Room Hub (Galbraith Seminar Room, first floor)
Becketts Manuscripts / led by Mark Nixon and Dirk Van Hulle
Arts Building (Room 3071)
Bilingual Beckett / led by Nadia Louar
Arts Building (Room 3106)
Beckett and Music / led by Catherine Laws
Samuel Beckett Centre (Players Theatre)
Beckett Performance Workshop / Samuel Beckett Laboratory 2016
Led by Jonathan Heron and Nicholas Johnson
PUBLIC PROGRAMME BARRY McGOVERN
7.00pm - 8.15pm, General Post Office, OConnell Street, Dublin 1:
UPTHEREPUBLIC! Readings by Barry McGovern in the GPO
Introduced and chaired by Feargal Whelan
Reception to follow. Produced with the support of An Post.
Optional Evening Arrangements: Wynns of Abbey Street

WEDNESDAY 10 AUGUST 2016

MANUSCRIPT SEMINAR SPECIAL SESSION
9.30am - 11.00am, Henry Jones Room, Old Library
*Note: only for participants in the Manuscript Seminar
Meet at the side entrance of the Old Library at 9.20am for access
LECTURE 5 / PUBLIC PROGRAMME CATHERINE LAWS
11.30am - 1.00pm, Neill Lecture Theatre, Trinity Long Room Hub (First Floor):
Headaches Among the Overtones: Music in the Work of Samuel Beckett
(chaired by Nicholas Johnson)
LUNCH 1.00pm - 2.00pm, Lavazza Vaults, The Buttery, Dining Hall, Front Square
*Note shorter lunch today in preparation for tour
OPTIONAL EXCURSION THE BECKETT COUNTRY
Feargal Whelan guides a tour of the Beckett Country; sign-up required
Meet at Nassau Gate at 2.15 for prompt departure
NO LACK OF VOID
2.30pm - 8.00pm, Open day in Dublin for those not on excursion no seminar meetings
BECKETT PUB QUIZ
8.30pm - 10.30pm, Stags Head, Dame Lane (downstairs):
Questions, hypotheses, call them that.
Honed and delivered by Quizmaster Mark Nixon; assessed by Nicholas Johnson.

THURSDAY 11 AUGUST 2016

LECTURE 6 NADIA LOUAR
9.30am - 11.00am, Neill Lecture Theatre, Trinity Long Room Hub (First Floor):
Becketts Hauntologies: I say it as I hear it (chaired by David Pattie)
COFFEE BREAK
11.00am - 11.30am, Ideas Space, Trinity Long Room Hub (Second Floor)
PLENARY BECKETT, POLITICS, THE POLITICAL
11.30am - 1.00pm, Neill Lecture Theatre, Trinity Long Room Hub (First Floor):
A Roundtable on Beckett, Politics, and the Political
Conceived by Sam Slote, moderated by Matthew Feldman, featuring Rnn
McDonald, Angela Moorjani, David Pattie, and Feargal Whelan
LUNCH
1.00pm - 2.30pm, Lavazza Vaults, The Buttery, Dining Hall, Front Square
SEMINAR SESSIONS
2.30pm - 5.30pm, Various Locations:
Trinity Long Room Hub (Galbraith Seminar Room, first floor)
Becketts Manuscripts / led by Mark Nixon and Dirk Van Hulle
Arts Building (Room 3071)
Bilingual Beckett / led by Nadia Louar
Arts Building (Room 3106)
Beckett and Music / led by Catherine Laws
Samuel Beckett Centre (Players Theatre)
Beckett Performance Workshop / Samuel Beckett Laboratory 2016
Led by Jonathan Heron and Nicholas Johnson
PUBLIC PROGRAMME OLWEN FOUR
6.00pm - 7.00pm, Samuel Beckett Theatre
Olwen Four: In Conversation
Chaired by Nicholas Johnson

FRIDAY 12 AUGUST 2016

SEMINAR SESSIONS
10.00am - 12.00pm, Various Locations:
Trinity Long Room Hub (Galbraith Seminar Room, first floor)
Becketts Manuscripts / led by Mark Nixon and Dirk Van Hulle
Arts Building (Room 3071)
Bilingual Beckett / led by Nadia Louar
Arts Building (Room 3106)
Beckett and Music / led by Catherine Laws

FRIDAY 12 AUGUST 2016 (continued)

Samuel Beckett Centre (Players Theatre)
Beckett Performance Workshop / Samuel Beckett Laboratory 2016
Led by Jonathan Heron and Nicholas Johnson
LUNCH
12.00pm - 1.00pm, Lavazza Vaults, The Buttery, Dining Hall, Front Square
*Note shorter lunch today
PLENARY SEMINAR GROUP PRESENTATIONS
1.00pm - 3.00pm, Neill Lecture Theatre, Trinity Long Room Hub (First Floor):
Informal report on weeks work from four seminar groups:
1) Manuscripts 2) Bilingual 3) Music 4) Performance
BREAK / PERFORMANCE PREPARATION
3.00pm - 4.00pm, Players Theatre, Samuel Beckett Centre
Beckett Laboratory group works in theatre (*ONLY Performance Workshop attend)
PERFORMANCE WORKSHOP PRESENTATION
4.00pm - 5.00pm, Players Theatre, Samuel Beckett Centre
Results from the Samuel Beckett Laboratory (all other seminar groups invited)
PUBLIC PROGRAMME PAN PAN
5.00pm - 6.00pm, Samuel Beckett Theatre
Behind the Scenes: Pan Pans Cascando
Sights, sounds and stories of the 2016 Cascando production, featuring its creators
SUMMER SCHOOL GROUP PHOTO
6:00 - 6.15pm, outside Samuel Beckett Centre
FAREWELL BANQUET
From 7.15pm, The Howth Yacht Club (Howth Harbour):
Meet at 7.00 at Nassau Street Gate for bus to dinner location, for fine dining and
private bar; bus provided back to town, departing near midnight.
Public transport options also available; see separate sheet provided for full details.

About the Seminars

Becketts Manuscripts (Mark Nixon and Dirk Van Hulle) During his lifetime, Samuel Beckett donated
several manuscripts to archives at universities such as Trinity College Dublin and the University of Reading.
By studying the marginalia in the books of his personal library, his reading notes on literature, philosophy
and psychology, his drafts and typescripts, we investigate how these manuscripts can contribute to an
interpretation of Becketts works. The methodological framework is the theory of genetic criticism, which
sets itself a double task: the genetic task of making the manuscripts accessible (ordering, deciphering and
transcribing), resulting in a genetic dossier; the critical task of reconstructing the genesis from a chosen
point of view (psychoanalysis, sociocriticism, narratology, etc.). Different methods of transcription
(diplomatic, linear, topographic) and encoding (markup languages, the Text Encoding Initiatives guidelines)

will be discussed and applied to Becketts manuscripts. The potential interpretive consequences of this
genetic research will be discussed in the second part of the seminar.
Bilingual Beckett (Nadia Louar) One of the most remarkable traits of Becketts literary corpus is the fact that
it comes in two versions. The mythologized turn to French on the 13th of March 1946, when Beckett drew a
line in the manuscript of Suite to continue in French the novella that he had started in English a month
earlier, does not truly mark Becketts birth as a major French writer. Becketts first literary forays into
French began in the late thirties when he wrote poetry. Similarly, the return to English in 1956 with a radio
play and a prose fragment (the first text written directly in English since Watt according to its author) omits
the fact that he had been translating himself back into English since the 1950s. It is, however, customary to
distinguish three periods in Becketts linguistic itinerary, the English prewar prose, the turn to French, and
the return to English. In our seminars, we will examine the part played by bilingualism in Becketts literature
and the aesthetic implications of such a literary choice. One of the main questions we will explore is how the
practice of self-translation relates to other forms of rewriting that take place in the course of Becketts career
as novelist, playwright, screenwriter and director. We will read selections from each period and look at the
most recent critical studies. While some knowledge of French might be helpful, it is not required.
Beckett and Music (Catherine Laws) Samuel Beckett was a lover of music. He enjoyed playing the piano,
was married to a professional pianist, and regularly attended concerts. His listening tastes were broad, but
his great love was for music of the late Classical and early Romantic periods, especially Beethoven and
Schubert, and in some of his work he references particular compositions or even, occasionally, includes
excerpts of the music itself. He also thought hard about music. His early writing includes occasional, often
obscure references to music history, philosophy and theory, and in some of this we can observe Beckett
explicitly thinking about or through music in order to work out the kind of writing he wants to produce:
to help him find his literary voice. A musical attention to the detail of sound and its patterning seems
increasingly to seep into the very pores of his language. As his voices fizzle on with their broken, empty,
repetitive, hopeless and often very funny attempts to tell stories, the language fragments and fissures.
But whether truncated and percussive, or accumulative and spieling, the closer Beckett seems to get to
exhaustion and silence, the more musical the impact of the language. This was important to Beckett:
rehearsing Footfalls with Rose Hill, Beckett announced: We are not doing this play realistically or
psychologically, we are doing it musically. In the seminars we will explore three different aspects of the
topic Beckett and music: the musicality of Becketts writing, his use of and references to music, and some of
the ways in which composers have responded to Becketts texts.
Beckett Performance Workshop / Samuel Beckett Laboratory (Jonathan Heron and Nicholas Johnson) The
Samuel Beckett Laboratory, in partnership with DU Players, provides a space and occasion for fundamental
research into Becketts work in and through performance. Meeting annually through the five days of the
Beckett Summer School, the Lab occupies a black-box theatre to create an ensemble of students, scholars,
performers, directors, designers, and technicians to explore the problems and practices of Beckett in
performance. The Lab is founded on the simple principle that by approaching Becketts texts through
performance, deeper insight into the texts function or meaning can be gained. This function of performance
as a methodology is taken as a truism for playscripts, where it is widely agreed that the kinaesthetic or
practical knowledge achieved by the performer, director, designer, or technician is a valuable aspect of
attaining a deep understanding of the work. The Lab applies this principle across genre to include prose,
poetry, radio, television, film, correspondence, and manuscript/draft material. The Lab exists to cultivate a
safe and facilitated environment where, for the purpose of both research and pedagogy, scholars can engage
in an inclusive manner with all of Becketts writing as performance material. The focus for 2016 will be
sound in Beckett; especially the practical exploration of Becketts soundscapes with reference to recorded
voice, sound design and musical score. The source texts for these experiments will be Krapps Last Tape (1958)
and Cascando (1963). With two facilitators creating a working environment that elevates the non-hierarchical
and exploratory embodiment of the ensemble, the workshop participants are all invited to respond
through performance, reflecting on possible elements of dramaturgy, design, acting, and directing of the
selected piece. Over the course of five days of engagement with the source texts and various performance
practices, this approach is designed to generate a form of deep knowledge of the texts structure, crossreference, and operation as a living thought that can be embodied or communicated in manifold ways to
an audience.

Performances and Public Programme

Following its expansion to include public events in 2012, the Beckett Summer School will
again programme a number of events that the wider public may attend. Access to all of
these events is free for registered students and staff members of the Summer School; it
is not necessary for participants to book online. The Beckett Summer School gratefully
acknowledges the support of the UNESCO/City of Literature in this performance
programme, as well as in-kind and development support from An Post, the Trinity Long
Room Hub, RT, Foras na Gaeilge, the Samuel Beckett Theatre, DU Players, and the Arts
Council.

MOUTH ON FIRE presents

What Would I Do Without This Silence

Cad A Dhanfainn Gan An Tost Seo
4:00 PM, Sunday 7 August 2016 / Samuel Beckett Theatre, Trinity College
The Beckett Summer School 2016 and the DRAFF Conference/Colloque are pleased to co-present a
multilingual, multimedia, and musical event created by Mouth on Fire Theatre Company,
featuring the poetry of Samuel Beckett in performance.
Beckett wrote lyric poems throughout his life, both in English and in French. Recurrent themes
include separation, abandonment, pain, out-of-body experiences, suffering, and love. The poems
were intensely personal and, at his best, comparable in excellence to his plays and prose.
Many of these poems have been translated into the Irish language for the first time by worldrenowned Irish poet and translator Gabriel Rosenstock. A selection of poems, including the world
premiere of the new Irish translation of Roundelay, will be presented by Cathal Quinn, Melissa
Nolan, Nelly Henrion, and Gabriel Rosenstock. They are interspersed by musical selections
adapted and played by internationally acclaimed Irish harpist Anne-Marie OFarrell.
About Mouth on Fire (http://www.mouthonfire.ie)
Mouth on Fire Theatre Company was founded in 2010 by Melissa Nolan and Cathal Quinn. The
company specialises in innovative yet highly respectful productions of Samuel Beckett's poetry,
prose and drama, accessible to those who may never have experienced it before, whilst performing
it to the highest standards. What makes Mouth on Fire stand out is its commitment not just to
staging great works in theatres all over Ireland and worldwide, but also performing in prisons,
hospitals and for the homeless. Mouth on Fire is also dedicated to promoting the Irish language
and performs the works of great Irish writers in both English and Irish. To date, the company has
produced over twenty of Becketts works, five of which were World Premieres (Irish Language)
and one a European Premiere; touring Ireland and internationally to Japan, UK and winning
awards at the Kot Bayun Literary Arts Festival in Russia and representing Ireland at the
Hyderabad Literary Festival, India.

UPTHEREPUBLIC!
READINGS by BARRY McGOVERN in the GPO
7:00 PM, Tuesday 9 August 2016 / General Post Office (GPO), OConnell Street, Dublin 1
The Beckett Summer School 2016 is pleased to partner with the GPO in the centenary year of the Rising, and
to offer an opportunity to experience one of Dublin's most historic locations. Barry McGovern, a worldrenowned interpreter of Samuel Beckett's work, will present texts that reflect Beckett's troubled relationship
to Irish nationalism, including one featuring the GPO itself.
Feargal Whelan will introduce the venue and the performer and moderate the discussion.
All tickets for this event are standing only. It will be followed by a wine reception.
ABOUT THE ARTIST
Barry McGovern is recognised by many as one
of the leading interpreters of the work of
Samuel Beckett. He has played Vladimir,
Estragon and Lucky in Waiting for Godot, Clov
in Endgame, Willie in Happy Days and Krapp in
Krapps Last Tape. On radio he has played
Henry in Embers, Fox in Rough for Radio II and
directed All that Fall. He has also played
Words in Words and Music.
He played
Vladimir in the Beckett on Film Godot. In 2012
he played Vladimir to Alan Mandells
Estragon in Los Angeles and earlier this year
played Clov to his Hamm. His two one-man Beckett shows Ill Go On and Watt, produced by the Gate
Theatre, have toured worldwide. He frequently lectures on, and gives readings of, Becketts work. His
recordings of the complete Three Novels (Molloy, Malone Dies and The Unnamable) are available from RT.
Last year he taught Joyce and Beckett at the University of Notre Dame in Indiana. He will be performing a
stage adaptation of Beckett's First Love at the Dublin Theatre Festival in October.

Headaches Among the Overtones

Music in the Work of Samuel Beckett
A PUBLIC LECTURE by CATHERINE LAWS
11:30 AM, Wednesday 10 August 2016, Neill Lecture Theatre, Trinity Long Room Hub
Our public programme features one lecture from within the academic programme each year. This year we
are pleased to present the cutting-edge research of Catherine Laws, a member of the Summer School 2016
faculty (see bio below) who is leading the seminar on Beckett and Music. This lecture will explore the
musicality of Becketts writing, his use of and references to music, and some of the ways in which composers
have responded to Becketts texts.
The public programme of the Samuel Beckett Summer School is generously supported by the School of
Drama, Film and Music; the School of English; and Larry and Mary Lund. This lecture proceeds with the
active support of the Trinity Long Room Hub, TCD's Research Institute for the Humanities.

Olwen Four: In Conversation

6:00 PM, Thursday 11 August 2016 / Samuel Beckett Theatre, Trinity College
The Samuel Beckett Summer School 2016 is thrilled to welcome Olwen Four, one of Ireland's most creative
and multi-faceted artists. As part of our "In Conversation" series designed to explore the creative process of
notable interpreters of Beckett, Olwen will discuss Beckett's impact on her theatrical interests, approaches,
and styles. The powerful voice of this contemporary practitioner will reveal the ongoing significance of
Samuel Beckett for artists in Ireland and beyond.
ABOUT THE ARTIST Olwen Four, born in Ireland of Breton parents, is an actor, director and creative
artist. Recent work for theatre includes her internationally acclaimed performances of riverrun in her own
adaptation of the voice of the river in Finnegans Wake by James Joyce, and her performances of Lessness by
Samuel Beckett, which were produced by her company TheEmergencyRoom in association with Galway
International Arts Festival and Cusack Projects Ltd. Other recent stage work includes her role as the
Nameless Woman in Yael Farbers Salom (Shakespeare Theatre Company DC) and her role as Death in Death
at Intervals (Galway International Arts Festival and the upcoming Dublin Theatre Festival 2016). She is
currently collaborating with the artist Jesse Presley Jones who will be representing Ireland at the Venice
Biennale 2017. Recent film includes the award-winning feature The Survivalist, written and directed by
Stephen Fingleton, and The Wake, a short film by Oonagh Kearney. Olwen has received numerous awards for
her work, including, most recently, the Herald Archangel Award of the Edinburgh Festivals 2014, The Stage
Award and the Irish Times Special Tribute Award 2013 for her outstanding achievement and contribution to
Irish Theatre. In April 2016, she was conferred with an Honorary Doctorate (Doctor of Philosophy-Honoris
Causa) from Dublin City University for her outstanding contribution to the arts and culture in Ireland. Her
performances of work by Samuel Beckett include Lessness (Barbican International Beckett Season and
Galway International Arts Festival 2015, Project Arts Centre 2016) ; Catastrophe (Gate Theatre Dublin and
Barbican Beckett Festival 2007) ; Play and Come and Go (Gate Theatre Dublin and Lincoln Center NY 1997);
Not I (Focus Theatre, Dublin 1979); Endgame (in Players Theatre,TCD, 1976).
The conversation will be chaired by Nicholas Johnson, co-director of the Beckett Summer School.
The public programme of the Samuel Beckett Summer School is generously supported by the School of
Drama, Film and Music; the School of English; and Larry and Mary Lund.

Olwen Four in performance during riverrun, Colm Hogan

Behind the Scenes: Pan Pans Cascando

5:00 PM, Friday 12 August 2016, Samuel Beckett Theatre, Trinity College Dublin
The Samuel Beckett Summer School 2016 is proud to continue its partnership with Pan Pan Theatre
Company, as they continue their investigation of the radio plays of Samuel Beckett. Following the
internationally acclaimed All That Fall and Embers, in April 2016 as part of the Trinity Creative Challenge,
Pan Pan engineered a specially constructed environment in which the audience could engage with Beckett's
1963 radio play Cascando in profoundly physical ways. This seated event takes its auditors "behind the
scenes" into the process and development of the Cascando project, including a complete playback of the new
recording, a filmic response to the installation, and a conversation with the creative team.
Featured Artists on the Panel
Gavin Quinn (director)
Aedn Cosgrove (set & lighting designer)
Jimmy Eadie (sound designer)
Nicholas Johnson (dramaturg)
Artists Featured in Multimedia
Andrew Bennett (Voice)
Daniel Reardon (Opener)
Ros Kavanagh (Film)
Pan Pan Theatre is the longest-established contemporary theatre company in Ireland, founded in 1991 by coartistic directors Aedn Cosgrove and Gavin Quinn. Throughout their career they have created 28 theatre and
performance pieces, toured their work worldwide, and received multiple national and international awards,
including the Herald Angel Award at the Edinburgh International Festival 2013. Artistically, the company is
not only committed to keep interrogating theatre as an art, but also to foster contemporary theatre making in
Ireland. From 1997 to 2003 Pan Pan produced the Dublin International Theatre Symposium, a unique and
dynamic programme of talks, workshops, demonstration-performances and full productions. The
Symposium gave Irish audiences the chance to engage with a variety of styles, approaches and viewpoints in
contemporary theatre from Europe and further afield. It was nominated for the Special Jury Award in the
Irish Times Theatre Awards 2001 and it served as a springboard for the International Mentorship and
Bursary Programme. The company has constantly examined and challenged the nature of its work and has
resisted settling into well-tried formulas. Developing new performance ideas is at the centre of the
companys raison dtre, which is born from a desire to be individual and provide innovation in the
development of theatre art. All the works created are original, either through the writing (original plays) or
through the totally unique expression of established writings. Pan Pan tries to approach theatre as an open
form of expression and has developed an individual aesthetic that has grown from making performances in
a host of different situations and conditions. Pan Pan is committed to presenting performances nationally
and internationally and developing links for co-productions and collaborations. The company has toured in
Ireland, UK, Europe, USA, Canada, Korea, Australia, New Zealand and China. Pan Pan Theatre is supported
by the Arts Council of Ireland, Culture Ireland and Dublin City Council.
Elements of this presentation were generously funded by the Trinity Creative Challenge and the Arts
Council. The public programme of the Summer School is supported by the School of Drama, Film and
Music, the School of English, and Larry and Mary Lund.
Image Credit: Cascando in production, Samuel Beckett Theatre, April 2016 Ros Kavanagh

Lecturer, Performer, and Staff Biographies

Jimmy Eadie is an audio engineer/producer whose work covers recording, sound design and
installation. He has worked with Pan Pan Theatre, The Abbey Theatre, Dead Centre Theatre, Cois
Ceim, Rough Magic, Daghda, RT, Project Arts Centre, the National Concert Hall and many other
independent companies. He has been nominated and won the Irish Times Theatre award for best
sound. His sound installation work Wow & Flutter (2014) was presented at the National Concert
Hall Dublin, IMMA Ireland, SOMA Gallery Waterford, The Dock Gallery, Sligo. In 2015 he
presented a site-specific work Collision (2015) at the Hearsay International Audio Festival. He is a
founding member of the Crash Ensemble and worked with them as their audio engineer and
technical manager from 1997 to 2015; in 2015 he was made the ensemble's first Creative Partner.
Jimmy has collaborated with artists, composers and performers from varied backgrounds and
genres, earning many music award nominations and much critical acclaim. He has performed and
recorded with the bands Into Paradise and The Idiots and released solo works as Amusement, Ice
iv and Ick. Jimmy has toured worldwide with Irish acts as engineer/producer and sound designer.
He has trained with audio companies Meyer (USA), LAcoustic Audio (France) and Rational
Acoustics (UK). This experience informs his teaching of sound design, engineering and production
in Trinity College Dublin and Pulse College Dublin.
Matthew Feldman is Professor in the Modern History of Ideas at Teesside University, where is also
co-directs the Centre for Fascist, Anti-fascist and Post-fascist Studies. With Professor Erik Tonning,
he edits two Bloomsbury Academic books series: Historicizing Modernism and Modernist
Archives, in addition to co-editing the online Wiley-Blackwells journal Religion Compass: Modern
Ideologies and Faith. He has held research fellowships at the universities of Northampton,
Birmingham, Oxford, Richmond and Bergen, Norway, and has written widely on modernism,
including the recent study Ezra Pounds Fascist Propaganda, 1935-1945 (Palgrave, 2013). His work on
Samuel Beckett focusses on interwar philosophy, postwar radio adaptations, and is closely
associated with the empirical turn in Beckett Studies this century. His books include Becketts
Books: A Cultural History of Samuel Becketts Interwar Notes (Bloomsbury, 2008); his essay collection
Falsifying Beckett: Essays on Archives, Philosophy and Methodology in Beckett Studies and the essay
collection, with Karim Mamdani, Beckett/Philosophy (both with Ibidem/Columbia University Press,
2015). With David Addyman and Steven Matthews he is currently completing an annotated
transcription of Samuel Becketts Philosophy Notes (Oxford University Press, 2017).
Olwen Four, born in Ireland of Breton parents, is an actor, director and creative artist. Recent
work for theatre includes her internationally acclaimed performances of riverrun in her own
adaptation of the voice of the river in Finnegans Wake by James Joyce, and her performances of
Lessness by Samuel Beckett, which were produced by her company TheEmergencyRoom in
association with Galway International Arts Festival and Cusack Projects Ltd. Other recent stage
work includes her role as the Nameless Woman in Yael Farbers Salom (Shakespeare Theatre
Company DC) and her role as Death in Death at Intervals (Galway International Arts Festival and
the upcoming Dublin Theatre Festival 2016). She is currently collaborating with the artist Jesse
Presley Jones who will be representing Ireland at the Venice Biennale 2017. Recent film includes
the award-winning feature The Survivalist, written and directed by Stephen Fingleton, and The
Wake, a short film by Oonagh Kearney. Olwen has received numerous awards for her work,
including, most recently, the Herald Archangel Award of the Edinburgh Festivals 2014, The Stage
Award and the Irish Times Special Tribute Award 2013 for her outstanding achievement and
contribution to Irish Theatre. In April 2016, she was conferred with an Honorary Doctorate (Doctor
of Philosophy-Honoris Causa) from Dublin City University for her outstanding contribution to the
arts and culture in Ireland. Her performances of work by Samuel Beckett include Lessness
(Barbican International Beckett Season and Galway International Arts Festival 2015, Project Arts

Centre 2016) ; Catastrophe (Gate Theatre Dublin and Barbican Beckett Festival 2007) ; Play and Come
and Go (Gate Theatre Dublin and Lincoln Center NY 1997); Not I (Focus Theatre, Dublin 1979);
Endgame (in Players Theatre,TCD, 1976).
Jonathan Heron is a theatre practitioner and performance scholar, based at the University of
Warwick as the IATL Principal Teaching Fellow. He was previously Research Associate for the
CAPITAL Centre (with the Royal Shakespeare Company) and Youth Arts Leader at Pegasus
Theatre in Oxford, during their 50th anniversary. His theatre directing includes: Diary of a Madman
(Warwick Arts Centre), The Nativity & Mythologies (Pegasus, Oxford), Rough for Theatre II & Ohio
Impromptu (Burton Taylor, Oxford Playhouse), Play without a Title (Belgrade, Coventry), and
Phaedras Love (Underbelly, Edinburgh). He was also Associate Director on Footfalls and Rockaby
(Den Nationale Scene, Bergen; 2012) performed by Rosemary Pountney, with whom he
collaborated on several Beckett projects. Jonathan founded Fail Better Productions in 2001 and the
Warwick Student Ensemble in 2009. With Nicholas Johnson, he co-founded the Samuel Beckett
Laboratory and co-edited a special issue of the Journal of Beckett Studies (23:1, 2014). He has also
published research on early modern drama (Cambridge University Press, 2012; 2015) and the
medical humanities (BMJ, 2015; Springer, 2016). He was co-convenor for the International
Federation of Theatre Research Performance-as-Research working group (201316) and a core
member of the interdisciplinary research project Modernism, Medicine and the Embodied Mind
(Universities of Bristol, Exeter and Warwick, 201516).
Nicholas Johnson is Assistant Professor in Drama at TCD, as well as a performer, director, and
writer. Recent Beckett practice includes Cascando with Pan Pan (Beckett Theatre, 2016), Nos Knife
with Lisa Dwan (Lincoln Center, 2015), and the ongoing practice-as-research project Ill Seen Ill Said
with Scott Hamilton and Matthew Causey. He co-conceived and performed in Abstract Machines:
The Televisual Beckett (ATRL, 2010) and Three Dialogues (ATRL, 2011). In 2012 he directed Ethica: Four
Shorts by Samuel Beckett, presenting Play, Come and Go, Catastrophe, and What Where in Bulgaria,
Dublin, the Enniskillen Festival 2013, and ras an Uachtairin for World Human Rights Day. He
co-edited the Journal of Beckett Studies special issue on performance (23.1, 2014) with Jonathan
Heron. He is a founding co-director of the Beckett Summer School and co-convenor of the Samuel
Beckett Working Group for IFTR. In 2016 he held a visiting research fellowship at Yale University.
Nadia Louar is Associate Professor in French and Francophone Studies at the University of
Wisconsin Oshkosh. She has published essays on Becketts works, literary bilingualism and selftranslation, and on questions of genre and gender in translation. She is the author of Figures du
bilinguisme dans luvre de Samuel Beckett (2016). She is currently preparing a volume on The Poetics
of Bilingualism in Becketts Works, co-edited with Dr. Jose Francisco Fernndez, and rewriting her
monograph in English.
Rnn McDonald is Professor of Modern Literature at the University of New South Wales,
Sydney. Between 2010 and 2015, he held the Australian Ireland Fund Chair in Irish Studies at
UNSW and since, 2012, has been the President of the Irish Studies Association of Australia and
New Zealand. His research interests span modern Irish literature and culture, modernism, theories
of cultural value and the role of the humanities in the modern university. He is the editor of a new
collection of essays The Values of Literary Studies: Critical Institutions, Scholarly Agendas (Cambridge
University Press, 2016). Other books include Tragedy and Irish Literature (2002), The Cambridge
Introduction to Samuel Beckett(2007) andThe Death of the Criticin(2008). He is co-editor of Flann
OBrien and Modernism (Bloomsbury, 2014).
Barry McGovern is recognised by many as one of the leading interpreters of the work of Samuel
Beckett. He has played Vladimir, Estragon and Lucky in Waiting for Godot, Clov in Endgame, Willie
in Happy Days and Krapp in Krapps Last Tape. On radio he has played Henry in Embers, Fox in

Rough for Radio II and directed All that Fall. He has also played Words in Words and Music. He
played Vladimir in the Beckett on Film Godot. In 2012 he played Vladimir to Alan Mandells
Estragon in Los Angeles and earlier this year played Clov to his Hamm. His two one-man Beckett
shows Ill Go On and Watt, produced by the Gate Theatre, have toured worldwide. He frequently
lectures on, and gives readings of, Becketts work. His recordings of the complete Three Novels
(Molloy, Malone Dies and The Unnamable) are available from RT. Last year he taught Joyce and
Beckett at the University of Notre Dame in Indiana. He will be performing a stage adaptation of
Beckett's First Love at the Dublin Theatre Festival in October. This marks his sixth appearance at the
Beckett Summer School.
Angela Moorjani is Professor Emerita of French and Intercultural Studies at the University of
Maryland-UMBC and has been a visiting professor at Waseda University in Tokyo. She authored
Abysmal Games in the Novels of Samuel Beckett in 1982 on narrative mise en abyme, the fort-da, and
other playful repetitions; she has since co-edited seven volumes on Beckett, with the latest Beckett
in Conversation, yet again to appear in time for Becketts 110th birthday in 2016. Her other books
on mourning and repetition in writing and the arts The Aesthetics of Loss and Lessness and Beyond
Fetishism and Other Excursions in Pragmatics and numerous essays fuse psychoanalysis and
pragmatics with gender theory. Her recent publications include a study of the trilogy in The New
Cambridge Companion to Samuel Beckett and a series on Becketts French cultural ghosts leading her
to grapple further with the clash between Becketts ghostly timelessness and embodied
temporality in the space of writing. With Sjef Houppermans, she is co-editor in chief of the
bilingual journal Samuel Beckett Today / Aujourdhui.
Mark Nixon is Associate Professor in Modern Literature at the University of Reading, where he is
also Director of the Beckett International Foundation. With Dirk Van Hulle, he is editor in chief of
the Journal of Beckett Studies and Co-Director of the Beckett Digital Manuscript Project. He is also an
editor of Samuel Beckett Today/Aujourdhui and the current President of the Samuel Beckett Society.
He has published widely on Becketts work; recent books include the monograph Samuel Becketts
German Diaries 1936-37 (Continuum, 2011), the edited collection Publishing Samuel Beckett (British
Library, 2011) and Samuel Becketts Library, written with Dirk Van Hulle (Cambridge UP, 2013). His
critical edition of Becketts short story Echos Bones was published by Faber in April 2014. He is
currently preparing critical editions of Becketts Critical Writings (with David Tucker; Faber) and
Becketts German Diaries (with Oliver Lubrich; Suhrkamp), as well as The Bloomsbury Companion to
Modernist Literature (with Ulrika Maude; Bloomsbury, 2015).
David Pattie is Professor of Drama at the University of Chester. He is the author of The Complete
Critical Guide to Samuel Beckett (Routledge, 2001); Rock Music in Performance (Palgrave 2007) and
Modern British Playwrights: The 1950s (Methuen 2012). He has also co-edited two collections in
popular music: Kraftwerk: Music Non-Stop (Continuum, 2011) and Brian Eno: Oblique Music
(Continuum, 2016). He has published on Beckett, contemporary theatre and performance, popular
music, and popular culture; and he was part of a major three-year AHRC funded project (Staging
Beckett) which examined productions of Beckett in the UK and Ireland.
Sam Slote is Associate Professor in English at Trinity College Dublin and is a Fellow of Trinity
College Dublin. He has co-edited five volumes on Joyce: Probes: Genetic Studies in Joyce (1995);
Genitricksling Joyce (1999), How Joyce Wrote Finnegans Wake: A Chapter-by- Chapter Genetic Guide
(University of Wisconsin Press, 2007), Renascent Joyce (University of Miami Press, 2013), and
Derrida and Joyce: Texts and Contexts (SUNY Press, 2013). His annotated edition of Ulysses was
published by Alma Classics in 2012. His writings on Beckett have appeared in the Journal of Beckett
Studies, Samuel Beckett in Context, and Publishing Samuel Beckett. He is a Co-Director of the Samuel
Beckett Summer School.

Dirk Van Hulle is professor of English literature at the University of Antwerp (Centre for
Manuscript Genetics). His recent publications include the monographs Modern Manuscripts: The
Extended Mind and Creative Undoing (2014) and (with Shane Weller) The Making of Samuel Becketts
LInnommable/The Unnamable (2014). With Mark Nixon, he is co-director of the Beckett Digital
Manuscript Project (BDMP, www.beckettarchive.org), author of Samuel Becketts Library (CUP,
2013), and editor in chief of the Journal of Beckett Studies. He is currently preparing the second
edition of the Cambridge Companion to Samuel Beckett (CambridgeUP).
Feargal Whelan was awarded a PhD by University College Dublin in 2014 with a thesis titled
Samuel Beckett and the Irish Protestant Imagination. He co-founded and co-organised the series
of conferences Samuel Beckett and the State of Ireland which were held annually in Dublin from
2011 to 2013. At present he is co-editing the conference proceedings for publication. He has
presented on Beckett at conferences in Ireland, the United Kingdom, Canada and Spain, including
at the Beckett Society panel at this years MLA, and has published in various journals. At present
he is research associate at UCD Humanities Institute in Dublin. Feargal has led the tour of the
Beckett Country for the last three years of the Samuel Beckett Summer School.
Artist biographies for the Mouth on Fire event can be found in the Sunday event programme.

Social Programme and Meals

In order to facilitate an informal space for students and staff to converse and meet outside the
bounds of the lectures and seminars, the Summer School reserves places on some evenings in local
pubs, some of which have specific history relating to Becketts life and literature. We have sought
out pubs that serve food on most evenings and maintain a pleasant atmosphere until late. Tables
are specially reserved this year for our Sunday welcome (at Doyles Pub, a student favourite),
Tuesday post-GPO (at Wynns, which appears in Murphy and has changed little since), and
Wednesday for the third annual Beckett Pub Quiz (at the Stags Head, an institution). All
students and staff are encouraged to join the group at the local hub of convivial evening activities,
whether or not they consume alcohol. All evening social arrangements are completely optional and
are not paid for by the Summer School.
Daily lunch is included in the Summer School for staff and students, as is the closing nights
banquet dinner.
There is a very large selection of restaurants near campus suitable for assorted budgets; if you are
seeking good guidance on local restaurants nearby, please approach any of the local volunteers,
staff members, or Trinity-based lecturers for advice!

The School Committee and Volunteers

Patron: Edward Beckett
Directors: Nicholas Johnson and Sam Slote
Programme Coordinator: Seona MacRamoinn
Administration: Alessandra Nania, Chris Morash, Noah Skelton
Public Programme/Beckett Laboratory Production Manager: Ferdia Cahill
School Administrator (Drama, Film & Music): Gail Weadick
School Administrator (English): Ruth Archbold
Volunteers: Bur dem Dinel, Derek de Boer, Stefano Rosignoli, La Weber

Bursaries and Partner Universities

Each year since its inception, the Beckett Summer School has offered a competitive
international bursary for the full programme. Congratulations to our 2016 winner:
Reza Habibi University of Bergen, Norway
In 2013, the Beckett Summer School formed partnerships with several universities and
other entities to offer joint bursaries, as part of our commitment to reducing attendance
costs for the most talented students from around the world. We gratefully acknowledge
the support of the following universities and organizations, listed with student winners:
University of Reading, Beckett International Foundation William Davies
Emory University, Laney School of Graduate Studies Sarah Harsh
University of Antwerp, Centre for Manuscript Genetics, Department of Literature
Nele Van de Mosselaer
Hebrew University, Dept. of English & Irish Friends of Hebrew University Noa Erez
Florida State U., George Harper Travel Grant, Dept. of English Thomas Tooley
University of York, English and Related Literature Megan Girdwood
Goldsmiths, University of London, English and Comparative Literature David Cross
University of d, Institute of English Studies Aleksandra Wachacz

Congratulations to student winners, and thank you to our supporters!

UNIVERSITY BURSARY PARTNERS 2016

Look for 2017 dates, programme, and future announcements at

www.beckettsummerschool.com
(and join our Facebook and Twitter accounts for regular updates).

Good. I am alone. It is summer. Time passes.

What Where, 1983

SPONSORSHIP & SPECIAL THANKS

SPECIAL THANKS TO:
Our support staff and volunteers All staff at our venues, especially the Long Room Hub, Beckett
Centre, and the GPO Dean Darryl Jones Christopher Morash, Aileen Douglas & colleagues in
the School of English Brian Singleton, Matthew Causey & colleagues in the School of Drama,
Film, and Music Bernard Meehan and Jane Maxwell at TCD Library Provost Patrick
Prendergast The Estate of Samuel Beckett Jrgen Barkhoff Curtis Brown David
Abrahamson Douglas Atkinson Ruben Borg Enoch Brater Stephen Brennan Michael
Colgan Anne-Marie Diffley Stan Gontarski Ben Keatinge James Little Lucy McKenna
Grace Morgan Emilie Morin Stephen Stacey Simon Williams Steve Wilmer Irish Friends
of Hebrew University Mitchells Wines Vrije Universiteit Brussel

SUPPORTERS & PARTNERS of the SAMUEL BECKETT SUMMER SCHOOL 2016

PUBLICITY PARTNERS of the SAMUEL BECKETT SUMMER SCHOOL 2016

MAJOR SPONSORS
The School of English and the School of Drama, Film, and Music, TCD
The Trinity Long Room Hub Research Institute for the Humanities
Larry and Mary Lund