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of the 2011 Samuel Beckett Summer School!

10 - 16 July 2011
The School of English & The School of Drama, Film and Music

Beckett Summer School Venue Guide
Daily Lunch Graduate Memorial Building (GMB) Old Library (Launch Event) Players Theatre & Beckett Theatre Naughton Gate: Meet for walk to ATRL

Front Gate: Meet for walk to Odessa Club

Nassau Street Gate: Meet for Bus Tour

Arts Building (English Library)

Alliance Française

Trinity Long Room Hub (Lectures)

Walking to ATRL
Arts Technology Research Laboratory (ATRL)

Schedule/Venue Quick Reference
Sunday 10 July

Monday 11 July

Tuesday 12 July

Wednesday 13 July

Thursday 14 July

Friday 15 July

Table of Venues
Summer School Venues: GRADUATE MEMORIAL BUILDING (GMB) — Arrival Registration, Manuscript Seminar TRINITY LONG ROOM HUB (First Floor) — Morning Lectures, Deleuze Seminar ARTS BUILDING 4019 (English Library) — Reading Group Seminar SAMUEL BECKETT CENTRE (The Foyer) — Performance Workshop (Monday only) SAMUEL BECKETT CENTRE (Players Theatre)— Performance Workshop (Rest of week) THE DINING HALL (The Buttery) — Daily Lunch THE OLD LIBRARY (The Long Room) — Monday Launch Event THE OLD LIBRARY (The Henry Jones Room) — Manuscript Seminar (Wednesday only) ALLIANCE FRANÇAISE (Nassau Street & Kildare Street) — Tuesday Reading/Reception ARTS TECHNOLOGY RESEARCH LAB (Pearse Street & Macken Street) — Wednesday Films SAMUEL BECKETT THEATRE — Thursday Performance by Gare St. Lazare Players Ireland THE DUKE PUB (Duke Street) — Sunday Welcome Drinks ODESSA CLUB & RESTAURANT (Dame Court) — Friday Banquet Meeting Points for Summer School Outings: NAUGHTON GATE (next to Science Gallery) — meet 7:00 Wednesday for walk to ATRL NASSAU STREET GATE (below Arts Building) — meet 1:15 Thursday for bus tour FRONT GATE — meet 7:15 Friday for walk to Odessa Club & Restaurant dinner

SUNDAY 10 JULY 2011 REGISTRATION & WELCOME 5.00pm - 8.00pm, Graduate Memorial Building (GMB): Summer School registration opens 8.00pm - 11.00pm, The Duke Pub, Duke Street (off Dawson Street): Welcome drinks for students, staff, and friends of the Summer School MONDAY 11 JULY 2011! 8.30am - 9.30am, Graduate Memorial Building (GMB): Registration continues / Day Pass Registration LECTURE — S. E. GONTARSKI 9.30am – 11.00am, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): S. E. Gontarski — “Thought thinks in its own right”: A. A. Luce, Samuel Beckett, and Bergson’s Doctrine of Failure COFFEE BREAK 11.00am - 11.30am, Lecture Theatre Foyer, Trinity Long Room Hub (First Floor) LECTURE — MARK NIXON 11.30am - 1.00pm, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Mark Nixon — Beckett and the Visual Arts LUNCH 1.00pm - 2.30pm, “The Buttery,” Dining Hall, Front Square SEMINARS 2.30pm – 5.30pm Graduate Memorial Building (GMB) Beckett’s Manuscripts / led by Mark Nixon and Dirk Van Hulle Trinity Long Room Hub Seminar Room (First Floor) Beckett and Deleuze / led by Garin Dowd Arts Building 4019 (English Department Library) Beckett Reading Group (Three Novels) / led by Gerry Dukes Samuel Beckett Centre (Foyer) Beckett Performance Workshop / led by Sarahjane Scaife BECKETT SUMMER SCHOOL LAUNCH 6.30 pm, The Long Room, The Old Library Remarks by the Provost of Trinity College, Dr. John Hegarty, and Michael Colgan Opening of the Beckett Manuscripts special display

TUESDAY 12 JULY 2011 9.00am - 9.30am, Graduate Memorial Building (GMB): Day Pass Registration LECTURE — ANNA McMULLAN 9.30am – 11.00am, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Anna McMullan — Beckett and Performance COFFEE BREAK — 11.00am - 11.30am, Lecture Theatre Foyer, Trinity Long Room Hub (First Floor) LECTURE — GARIN DOWD 11.30am - 1.00pm, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Garin Dowd — Beckett’s “Singularities” LUNCH —!1.00pm - 2.30pm, “The Buttery,” Dining Hall, Front Square SEMINARS 2.30pm – 5.30pm* Graduate Memorial Building (GMB) Beckett’s Manuscripts / led by Mark Nixon and Dirk Van Hulle Trinity Long Room Hub Seminar Room (First Floor) Beckett and Deleuze* / led by Garin Dowd * Ends at 4:30 PM today only Arts Building 4019 (English Department Library) Beckett Reading Group (Three Novels) / led by Gerry Dukes Samuel Beckett Centre (Players Theatre) Beckett Performance Workshop / led by Sarahjane Scaife BECKETT READING & WINE RECEPTION 6.30 pm, Alliance Française (Nassau Street & Kildare Street) Readings by Barry McGovern with Gerry Dukes WEDNESDAY 13 JULY 2011! 9.00am - 9.30am, Graduate Memorial Building (GMB): Day Pass Registration LECTURE — NICHOLAS JOHNSON 9.30am – 11.00am, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Nicholas Johnson — Language, Multiplicity,Void COFFEE BREAK — 11.00am - 11.30am, Lecture Theatre Foyer, Trinity Long Room Hub (First Floor) LECTURE — DIRK VAN HULLE 11.30am - 1.00pm, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Dirk Van Hulle — Beckett’s “Geology of Conscience” and Other Notes

LUNCH — 1.00pm - 2.30pm, “The Buttery,” Dining Hall, Front Square SEMINARS —!2.30pm – 5.30pm Henry Jones Room, The Old Library Beckett’s Manuscripts / led by Mark Nixon and Dirk Van Hulle Trinity Long Room Hub Seminar Room (First Floor) Beckett and Deleuze / led by Garin Dowd Arts Building 4019 (English Department Library) Beckett Reading Group (Three Novels) / led by Gerry Dukes Samuel Beckett Centre (Players Theatre) Beckett Performance Workshop / led by Sarahjane Scaife ABSTRACT MACHINES: THE TELEVISUAL BECKETT 7.30 pm, Arts Technology Research Laboratory (ATRL) Meet at Naughton Gate at 7.00pm for optional guided walk to ATRL Featuring “...but the clouds...” and “Nacht und Träume” in new digital versions Directed by Matthew Causey / Performed by Nicholas Johnson Q & A to follow with Matthew Causey, Nicholas Johnson, and Gabriella Calchi Novati THURSDAY 14 JULY 2011! 9.00am - 9.30am, Graduate Memorial Building (GMB): Day Pass Registration LECTURE — LINDA BEN-ZVI 9.30am – 11.00am, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Linda Ben-Zvi — Beckett’s Voices COFFEE BREAK — 11.00am - 11.30am, Lecture Theatre Foyer, Trinity Long Room Hub (First Floor) LECTURE — SAM SLOTE 11.30am - 1.00pm, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Sam Slote — Beckett en français TOUR OF “THE BECKETT COUNTRY” & PACKED LUNCH 1.15pm Meet at Nassau Street Gate for guided walk to bus SEMINARS 4.00pm – 6.00pm Graduate Memorial Building (GMB) Beckett’s Manuscripts / led by Mark Nixon and Dirk Van Hulle Trinity Long Room Hub Seminar Room (First Floor) Beckett and Deleuze / led by Garin Dowd Arts Building 4019 (English Department Library) Beckett Reading Group (Three Novels) / led by Gerry Dukes

Samuel Beckett Centre (Players Theatre) Beckett Performance Workshop / led by Sarahjane Scaife “THE END” by SAMUEL BECKETT 7.30 pm, Samuel Beckett Theatre Produced by Gare St. Lazare Players Ireland, directed by Judy Hegarty Lovett Performed by Conor Lovett / followed by Q & A with Conor Lovett FRIDAY 14 JULY 2011! 9.00am - 9.30am, Graduate Memorial Building (GMB): Registration continues / Day Pass Registration LECTURE — SARAHJANE SCAIFE 9.30am – 11.00am, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Sarahjane Scaife — Considering the Universal in Samuel Beckett’s Drama COFFEE BREAK —!11.00am - 11.30am, Lecture Theatre Foyer, Trinity Long Room Hub (First Floor) LECTURE — SHANE WELLER 11.30am - 1.00pm, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Shane Weller — Ruinstrewn: Beckett and Allegory LUNCH —!1.00pm - 2.30pm, “The Buttery,” Dining Hall, Front Square SEMINARS 2.30pm – 5.00pm Graduate Memorial Building (GMB) Beckett’s Manuscripts / led by Mark Nixon and Dirk Van Hulle Trinity Long Room Hub Seminar Room (First Floor) Beckett and Deleuze / led by Garin Dowd Arts Building 4019 (English Department Library) Beckett Reading Group (Three Novels) / led by Gerry Dukes Samuel Beckett Centre (Players Theatre) Beckett Performance Workshop / led by Sarahjane Scaife SEMINAR SHOWCASE 5.15pm - 6.00pm, Players Theatre, Samuel Beckett Centre Showcase of the Beckett Performance Workshop (all other seminar groups invited) FAREWELL BANQUET 7.30 pm, The Odessa Club & Restaurant (Dame Court) Meet at 7.15 at Front Gate for optional guided walk to dinner Fine dining and private bar until late

About the Seminars
Beckett and Deleuze (Garin Dowd) This seminar will feature close readings of a selection of articles, sections and chapters from the work of Deleuze which either directly address the work of Beckett (for example ‘The Exhausted’, chapter 1 of AntiOedipus, the section on Film in Cinema I) or offer suggestive lines of enquiry for the study of his oeuvre (for example Logic of Sense, Difference and Repetition, The Fold). In addition the seminar will undertake a close examination of short works and extracts from longer works by Beckett. In keeping with the special theme of this year’s summer school, Beckett will be used to read Deleuze as much as Deleuze applied to or used as a template to read, view and otherwise engage with the works of Beckett. Beckett Reading Group (Gerry Dukes) Every day for the duration of the Beckett Summer School, Gerry Dukes will conduct a rolling seminar devoted to a critical engagement with Beckett's Three Novels (Molloy, Malone Dies, The Unnamable). Participants should ideally be reasonably conversant with Beckett's texts in English and be prepared for discussion and dispute. Students are asked to bring the Faber edition of the novels if possible. Beckett’s 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 Beckett’s 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, …). Different methods of transcription (diplomatic, linear, topographic) and encoding (markup languages, the Text Encoding Initiative’s guidelines) will be discussed and applied to Beckett’s manuscripts. The potential interpretive consequences of this genetic research will be discussed in the second part of the seminar. Beckett Performance Workshop (Sarahjane Scaife) This workshop explores the body and the site of performance as the primary materials used by Beckett, to express his artistic and philosophical concerns around the notion of being. Participants do not need to be performers, they can be of any age or physical ability; the only prerequisite is a hunger to explore the philosophical and theoretical prisms of Samuel Beckett's drama through the experiential route provided by their own and other's bodies. Once you have been involved in the creation of a Beckett play it changes forever the way you watch one.

About the Performances
Abstract Machines: The Televisual Beckett 7:30 PM, Wednesday 13 2011, ATRL
The late television plays of Beckett (Ghost Trio, Quad, Nacht und Traume, and …but the clouds…) are brief highmodernist masterworks that engage unique philosophical questions. The tele-plays were written for a technological medium and meditate, in part, on the problems of identity and existence in the spaces of technology and are thus excellent tools for understanding our current place in digital culture. In consultation with the Beckett Estate and the Beckett Archive, the Drama Department of Trinity College under the direction of Dr. Matthew Causey and co-conceived with Dr. Nicholas Johnson began a project of translating Beckett’s televisual plays within technologized and mediated performance environments. The on-going practice-as-research project is called Abstract Machines: Performing the Televisual Beckett.

The first production of Abstract Machines: Performing the Televisual Beckett was a staging of Beckett’s Ghost Trio performed in the Samuel Beckett Theatre at Trinity College Dublin in December of 2007. The work began with filming the teleplay according to Beckett’s script. The completed digital video, which included some visual liberties with Beckett’s direction, was projected on multiple screens mounted the stage space. Dr. Johnson, who performed the role of ‘F’ in the digital film, appeared simultaneously on the stage to visually echo the recorded image. The goal was to explore the questioning of Beckett’s play through a technological and mediated performance. The project continued in 2009-10 with productions of …but the clouds… and Nacht und Traume. Again the works were filmed closely following Beckett’s instructions and performed by Dr. Johnson, directed, designed and edited by Dr. Causey with dramaturgical assistance from Ms. Gabriella Calchi Novati. The first intention was to use the recorded video as an element in live performances using various interactive and responsive technologies or other hybrid forms combining networked, live and virtual spaces. Currently, the pieces are presented as screen-based works of digital cinema and the research toward mediating the films with liveness proves a challenging theoretical and practical problem. The two most recent films will be presented at the Wednesday screening. A discussion with the creative team will follow the screening.

“The End” by Samuel Beckett / Gare St. Lazare Players Ireland 7:30 PM, Thursday 14 July, Samuel Beckett Theatre
Gare St. Lazare Players Ireland's arresting presentation of Samuel Beckett’s The End!is a perfect introduction to the prose work of Beckett, performed by a company renowned for their ability to expose the dark humour, compassion and integrity prominent in his work. Conor Lovett, considered by many to be the definitive Beckett performer, brings this one-man tour de force to life under the direction of Judy Hegarty Lovett. Beckett’s short story The End or La Fin (as it was originally written in French) features a man, near the end of his life, expelled from a institution of care and left to fend for himself. This production of The End premiered at Kilkenny Arts Festival in 2008 and has since been performed in UK, USA and New Zealand. Conor Lovett has performed 18 Beckett roles in 24 productions worldwide. !Director Judy Hegarty Lovett!has directed all but one of Gare St Lazare Players Ireland’s productions since 1996. !Her work has been performed in over 25 countries worldwide.!At The Irish Times Theatre Awards in 2009 Conor Lovett was a Judges special prize nominee for his performances in First Love and The End by Samuel Beckett. This production will be followed by an informal question & answer period with Conor Lovett, chaired by Nicholas Johnson. About The Company Over the past fourteen years Gare St Lazare Players Ireland has established an international reputation for artistic excellence. GSLPI has built a repertoire of Beckett works including ten novels, numerous short stories and prose works, seven radio plays and one solo play. The collaborative output of joint artistic directors Judy Hegarty Lovett (director) and Conor Lovett (actor) has consistently received plaudits for entirely accessible and faithful renditions of Beckett’s prose that highlight equally the humanity and humour inherent in the work of the Nobel Prize-winning author. GSLPI came out of the original Gare St Lazare Players, an international company founded in Chicago by Bob Meyer in 1983 which moved to France in 1988. Judy Hegarty Lovett and Conor Lovett founded the Irish company in 1996. The group rehearses either in Cork or in Mericourt (France) and premieres work in Ireland before touring internationally, having performed in seventy cities in over twenty countries. Recent years have seen international tours to Australia, Bulgaria, China, France, Germany, Greece, Holland, Israel, Poland, Romania, South Africa, Spain, Switzerland, Turkey, UK and the USA. They have presented Beckett on some of the world’s great stages, among them The National Theatres of Great Britain, Bulgaria, Romania and Israel, as well as Steppenwolf (Chicago), Stadschowburg (Rotterdam), The National Concert Hall (Dublin), Schiffbau (Zurich), The English Theatre (Berlin), Riverside Studios (London) and the Shanghai Dramatic Arts Centre. In August 2011 they will present a new play written for the company by acclaimed US playwright Will Eno. Coincidentally, Eno has been described by New York Times critic Charles Isherwood as "A Samuel Beckett for the Jon Stewart generation."

Staff, Lecturer, and Performer Biographies
(arranged alphabetically) Linda Ben-Zvi, Professor Emeritae,!English, Colorado State University and Theatre Studies, Tel Aviv University,!was twice President of the International!Samuel Beckett Society, and, since!1996, has chaired the Samuel Beckett Working Group of the International!Federation of Theatre Research.!!She!has been!a John N. Stern Distinguished Professor at Colorado, a Fellow at!Bogliasco Foundation, Liguria; the Library of Congress, Washington, D.C.; the!National!Endowment for the Humanities; the Newberry Library, Chicago; and Lady!Davis Professor at Hebrew University. Her books on Beckett include!Samuel!Beckett!(G.K. Hall);!Women in Beckett, ed. (U of Illinois P);!Drawing!on Beckett, ed. (Assaph Books); and!Beckett at 100, coedited with Angela!Moorjani,!(Oxford UP). In addition she has published widely on modern and!contemporary theatre, including the biography!Susan Glaspell: Her Life and!Times!(Oxford UP), awarded the George Freedley Special Jury Prize, of the!American Theatre Library Association; and!The Complete Plays of Susan!Glaspell, co-edited with J. Ellen Gainor. Matthew Causey, senior lecturer in Drama in the School of Drama, Film and Music and Fellow of Trinity College, holds a Ph.D. from Stanford University. He is director of the School of Drama, Film and Music's Arts Technology Research Lab, a postgraduate research facility for art and technology. Before arriving at TCD he was Assistant Professor at Georgia Tech in Atlanta, GA, where he served as principal investigator for the Performance Technology Research Lab, an interdisciplinary research centre for art and technology. Dr. Causey’s book, Theatre and Performance in Digital Culture: from simulation to embeddedness was published by Routledge (2006). His theoretical writings on performance and techno-culture have been published in Theatre Journal, Theatre Research International, Journal of Dramatic Theory and Criticism, and TheatreForum among others. Dr. Causey is also a digital filmmaker and his most recent film, Frank and Marie, was an official selection of both the Boston Irish Film Festival and Dublin's Darklight Digital Festival in 2004. As a theatre maker, Dr. Causey's multi-media performance pieces have been produced throughout America and in Dublin, including his project on Samuel Beckett’s television plays, Abstract Machines: The Televisual Beckett. Michael Colgan is a film and television producer and also Director of the Gate Theatre, Dublin. In his 27 years at the Gate, he has produced many award-winning plays and festivals including four Pinter Festivals and six Beckett Festivals.! Many of these productions have been seen throughout the world from Beijing to New York, Sydney to Toronto and London to Melbourne. Last year he produced a season of works by Brian Friel to mark the playwright’s 80th birthday. The plays opened at the Sydney Festival and later toured to the Edinburgh International Festival before returning to Dublin for a brief run at the Gate. For the Gate Theatre, he has previously directed Brian’s Friel’s Faith Healer starring Owen Roe and a stage adaptation of Beckett’s novella First Love starring Ralph Fiennes at the Sydney Festival 2007 and at Lincoln Center, New York. In 2006, Colgan was awarded the Irish Theatre Award for Lifetime Achievement in the Arts, and in 2007, he received the degree of Doctor in Laws from Trinity College, Dublin. In 2007, he was honoured with the title Chevalier dans l’Ordre des Arts et des Lettres by the French Government and, most recently, received an OBE by Her Majesty Queen Elizabeth II for services to cultural relations between the UK and Ireland. Garin Dowd teaches in the School of Art, Design and Media at the University of West London, where he is currently Reader in Film and Media. His most recent book is Abstract Machines: Samuel Beckett and Philosophy After Deleuze and Guattari (Rodopi, 2007). His many essays on the work of Samuel Beckett, often written from a Deleuzian perspective, have appeared in a range of publications including the journals Samuel Beckett Today/Aujourd’hui, The Journal of Beckett Studies, and Forum for Modern Language Studies and in the edited collection Beckett’s Proust/Deleuze’s Proust (Palgrave 2009). He has also published widely on other topics, including a co-authored volume on the film director Leos Carax (Manchester UP, 2003), an edited volume, Genre Matters: essays in Theory and Criticism (2006) and journal articles on a range of authors and film directors. His most recent essays to be published include studies of Deleuze’s interest in the work of the film critic Serge Daney, on Deleuze and the films of Jacques Rivette and on Rivette’s Scénes de la vie parallèle project. Forthcoming articles and chapters on Beckett and related topics will appear in Textual Practice, Samuel Beckett Today/Aujourd’hui and in two edited collections, Samuel Beckett in Context (Cambridge Up, 2012) and Samuel Beckett and Pain (Rodopi, 2012).

Gerry Dukes is a writer, critic and literary scholar. For many years he lectured at Mary Immaculate College, University of Limerick where he was also Research Scholar. He has published widely on Beckett's work in The Journal of Beckett Studies, Samuel Beckett Today/Aujourd'hui, Irish Studies Review, The Recorder and elsewhere. His arrangement of Beckett texts with the actor Barry McGovern to script I'll go on became a benchmark for Beckett stagings worldwide. He has edited and annotated First Love and Other Novellas by Beckett for Penguin and written Samuel Beckett: An Illustrated Life for Penguin and the Overlook Press. He has contributed the biographical essay on Beckett and all the critical essays on his dramatic works to The Columbia Encyclopedia of Modern Drama, (2 vols) edited by Gabrielle H. Cody & Evert Sprinchorn, Columbia University Press, NY, 2007. S. E. Gontarski is Robert O. Lawton!Distinguished Professor of English at Florida State University where he edited!the!Journal of Beckett Studies!(new series) from 1992-2008.!!!His most!recent books are:!!(with C. J. Ackerley)!The Faber!Companion to Samuel Beckett:!!A!Reader’s Guide to His Works, Life, and Thought!(London:!!Faber and Faber, 2006);!Beckett!after Beckett!(ed. with Anthony Uhlmann)!(Gainesville:!!University Press of Florida, 2006), a!finalist for the Theatre Library Association’s George Freedley Award;!Transnational!Beckett!(ed. with William J. Cloonan, Alec Hargreaves, and Dustin Anderson)!(Tallahassee, FL:!!Journal of!Beckett Studies Books, 2008); and most recently he edited!The Blackwell Companion to Samuel Beckett!(Oxford:!!Wiley-Blackwell, 2010). Judy Hegarty Lovett has a Fine Art degree in Performance Art/Mixed Media and a postgraduate diploma in Dramatherapy. She worked as a photographer and set designer with a number of Cork theatre companies before joining the original Gare St Lazare Players in 1991 as an assistant to Artistic Director Bob Meyer. In 1996 she directed Conor Lovett in Molloy by Samuel Beckett in London and shortly thereafter the pair set up Gare St Lazare Players Ireland. Hegarty Lovett’s Beckett directing credits include Waiting for Godot, Rockaby and prose recitals of Molloy, Malone Dies, The Unnamable, Lessness, Enough, Texts For Nothing, Worstward Ho, First Love and The End. In April 2006 for the Beckett Centenary Festival in Dublin, she directed new versions of Beckett’s radio plays as well as readings of Beckett’s prose and poetry by Tony Award Winner Anna Manahan and renowned Irish actors David Kelly and John Kavanagh. Hegarty Lovett’s notable credits also include a revival of Lessness at the National Theatre in 2001; a staged reading of The Great Hunger by Tom McIntyre at The Abbey Theatre in 2004; and a mask piece called Anseo at The Glucksman Gallery, Cork in 2005. Other non-Beckett directing credits include Bouncers by John Godber, The Possibilities by Howard Barker, The Dumb Waiter by Harold Pinter, Swallow by Michael Harding, Tanks A Lot (co-written by Hegarty Lovett and Raymond Keane), The Good Thief by Conor McPherson at the Rubicon Theatre and, most recently, GSLPI’s 2009 adaptation of Melville’s Moby Dick. Nicholas Johnson is a Lecturer in Drama at Trinity College Dublin, as well as a performer, director, and writer. He holds an acting degree from Northwestern University and a PhD (on the performance of Samuel Beckett"s prose works) from Trinity College Dublin. Recent practice-based research projects on Beckett include his one-man show On Going On (Chicago 2003/Dublin 2006); Disjecta: A Samuel Beckett Laboratory (Samuel Beckett Theatre, 2007); Abstract Machines: The Televisual Beckett (ATRL, 2010); and Three Dialogues (ATRL, 2011). He has held a DAAD Fellowship to the FU Berlin, as well as a George J. Mitchell Scholarship and the inaugural Samuel Beckett Studentship in support of his work in Dublin. Since 2005 he has been artistic director of Painted Filly Theatre, an independent theatre company focused on new writing, with whom he began in 2009 on the long-term documentary project The Way of the Language, based on detainee transcripts from Guantánamo Bay (Bleecker Street/Dublin Theatre Festival). Recent translation/directing work includes Ernst Toller’s Masse Mensch (Beckett Theatre/Volksbühne), K. —!Stories and Fragments by Franz Kafka, and Max Frisch"s Andorra. He is deputy director of the Samuel Beckett Summer School. Conor Lovett trained at L'École Internationale de Théâtre Jacques Lecoq in Paris. He has performed eighteen different Beckett roles in twenty-four productions worldwide, and his work with GSLPI has earned him a reputation as one of the world’s great Beckett actors. He played the role of Lucky in the 2003 revival of The Gate Theatre’s production of Waiting For Godot, directed by Walter Asmus, and performed in What Where and Acts Without Words 1 & 2 at The Barbican in London during The Gate’s London Beckett Festival in 1999. He has performed with Gare St Lazare Players since 1992 under the direction of both Bob Meyer and Judy Hegarty Lovett and in 2004 was again directed by Asmus in Beckett’s A Piece of Monologue in a Gare St Lazare/Rubicon co-production. Non-Beckett theatre roles include Ferdinand in The Duchess of Malfi, Joey in

The Homecoming, Army in Requiem for a Heavyweight, Les in Bouncers, The Torturer in The Possibilities, Gus in The Dumb Waiter, the title role in Orpheus, Ed in Entertaining Mr. Sloane and The Narrator in Fabulous Beast’s The Bull. In 2007 he played David in Lucy Caldwell’s Leaves, a Druid/Royal Court Theatre co-production, which was directed by Tony Award-winner Garry Hynes. In 2007 he also worked with Peter Brook on a workshop towards his recent creation 11 or 12, and in 2009 he starred in GSLPI’s production of Moby Dick. For the screen Conor co-produced and starred in Shut Eye directed by Jon Tompkins. Other screen appearances include Intermission, Father Ted, L’Entente Cordiale, The Kings of Cork City, Small Engine Repair, Fallout and Moll Flanders. Barry McGovern is a Dublin-born actor who has performed to international acclaim in many Beckett plays for stage and radio. He was a board member and actor in the Beckett Festival which the Dublin Gate Theatre launched in 1991 in partnership with Trinity College and Radio Telefís Eireann, and which toured to New York in 1996 and London in 1999. His award winning one man show I’ll Go On, from the novels Molloy, Malone Dies and the Unnamable, was originally presented by the Gate Theatre at the Dublin Theatre Festival in 1985 and has toured all over the world. Anna McMullan is Chair in Drama at Queen’s University Belfast. From September 2011, she will be Professor of Theatre at Reading University. She has lectured and published internationally on the theatre of Samuel Beckett, and on contemporary Irish theatre and performance. She is author of Performing Embodiment in Samuel Beckett’s Drama (London: Routledge, 2010) and Theatre on Trial: The Later Drama of Samuel Beckett (Routledge, 1993). She is co-editor of Reflections on Beckett (Ann Arbor: Michigan University Press, 2009) with Steve Wilmer, and The Theatre of Marina Carr: ‘before rules was made’ (Dublin: Carysfort Press, 2003) with Cathy Leeney, and edited a special issue of Australasian Drama Studies with Brian Singleton (2003). She coedited with Caroline Williams the ‘Contemporary Playwrights’ section of the Field Day Anthology of Irish Writing, Vol 5. A monograph on Brian Friel in Routledge’s series on Modern and Contemporary Dramatists is forthcoming in 2013. !She is on the editorial board of the Journal of Beckett Studies and the Irish University Review, and has served on the Executive Board of the International Samuel Beckett Society, the International Association for the Study of Irish Literatures (IASIL), and the Irish Society for Theatre Research (ISTR). Mark Nixon is Lecturer in English at the University of Reading, where he is also the Director of the Beckett International Foundation. He is an editor of Samuel Beckett Today / Aujourd’hui, a member of the editorial board of the Journal of Beckett Studies, and the Co-Director of the Beckett Digital Manuscript Project. He is also the President Elect of the Beckett Society. He has published widely on Beckett’s work; recent books include an edition of Beckett’s Texts for Nothing and Other Short Prose 1950-1976 (Faber & Faber, 2010), the monograph Samuel Beckett’s German Diaries 1936-37 (Continuum, 2011) and the edited collection Publishing Samuel Beckett (British Library, 2011). He is currently working on Samuel Beckett’s Library (Cambridge UP, 2012) with Dirk Van Hulle, and completing a critical edition of Beckett’s unpublished short story ‘Echo’s Bones’, which will appear with Faber & Faber in 2012. He is also editing Beckett’s ‘German Diaries’ for publication by Suhrkamp as well as Faber in 2015. Sarahjane Scaife (MPhil TCD) is primarily a theatre practitioner but also a scholar. Her work with Samuel Beckett’s drama has spanned from 1989 to the present day. This work has been presented in many countries throughout the world, from Ireland, Scotland, England, Denmark, Greece and Georgia, to India, Singapore, Malaysia, Outer Mongolia and China. In Europe she presented her own productions for the most part, whereas in Asia she worked with actors and students within their own cultures and countries. This work is what forms the basis of her theoretical investigations into the use of the body in performance within Beckett’s drama. It is where the experiential and the theoretical interconnect that interests her. She is currently writing her PhD at Queens University Belfast. Sarah Jane teaches part-time in Trinity College and University College Dublin, and is director of the Irish Theatre in Performance program for New York University in Dublin. In Ireland she has directed Beckett’s drama in the Peacock Theatre, the Project Theatre and the Samuel Beckett Centre. She has spoken about Beckett’s drama and her work in many conferences around the world; her recent production of Act Without Words II was presented for the 2010 Dublin Theatre Festival.

Sam Slote!is lecturer in English at Trinity College Dublin. !He has co-edited three volumes on Joyce:!Probes: Genetic Studies in Joyce!(1995);!Genitricksling Joyce!(1999), and!How!Joyce Wrote ‘Finnegans Wake’: A Chapter-byChapter Genetic Guide!(University of Wisconsin Press, 2007). A fourth edited volume,!Derrida and Joyce: On Totality and Equivocation,!will be published shortly. He has recently completed a book on Joyce and Nietzsche, which is provisionally entitled!Joyce’s Nietzschean Ethics. Since 1999, he has been one of five!Contributing Editors for the ongoing!‘Finnegans Wake’ Notebooks at Buffalo series. He was one of three academic coordinators for the 2008 International James Joyce Symposium at!the Université François-Rabelais in Tours, France. With Anne Fogarty and Luca Crispi, he is co-organizer of the 2012 International James Joyce Symposium, which will be hosted by!both TCD and UCD. He is a Trustee of the International James Joyce Foundation and Director of the Samuel Beckett Summer School which first meets in Trinity College Dublin, 10-16!July 2011. !He is advisory editor on the committee for the following journals:!Dublin James Joyce Journal;!English Text Construction;!Genetic Joyce Studies. !He is the Joyce editor for!Year’s Work in English Studies. Dirk Van Hulle, associate professor of!English literature at the University of Antwerp and co-director of the Centre for Manuscript Genetics,!is the author of!Textual Awareness (2004) and Manuscript Genetics, Joyce’s Know-How, Beckett’s Nohow (2008); editor of Beckett’s Company, Ill Seen Ill Said, Worstward Ho, Stirrings Still (Faber and Faber, 2009). He is president of!the European Society for!Textual Scholarship, board member of the Beckett Society, and an editor of the Journal of Beckett Studies and Samuel Beckett Today / Aujourd’hui. He co-directs the Beckett Digital Manuscript Project!and is!currently working with Mark Nixon on Beckett’s Library!(Cambridge!UP, forthcoming). Shane Weller is Professor of Comparative Literature and Co-Director of the Centre for Modern European Literature at the University of Kent. His publications include A Taste for the Negative: Beckett and Nihilism (2005), Beckett, Literature, and the Ethics of Alterity (2006), Literature, Philosophy, Nihilism: The Uncanniest of Guests (2008), and Modernism and Nihilism (2010). He is also the editor of the Faber edition of Beckett’s Molloy (2009). S. E. Wilmer is the Head of the School of Drama, Film and Music at Trinity College Dublin and he edited Beckett in Dublin (1992) and co-edited (with Anna McMullan) Reflections on Beckett (2009). He is also the author of Theatre, Society and the Nation: Staging American Identities (Cambridge University Press, 2002) and (with Pirkko Koski) The Dynamic World of Finnish Theatre (2006). Other publications include (with Audrone Zukauskaite) Interrogating Antigone in Postmodern Philosophy and Criticism (2010); National Theatres in a Changing Europe (2008); (with John Dillon) Rebel Women: Staging Ancient Greek Drama Today (2005); and Writing and Rewriting National Theatre Histories (2004). He is also a playwright and has been a member of the executive committees of the American Society for Theatre Research and the International Federation for Theatre Research. He is co-director of the Samuel Beckett Summer School.

The School Committee and Volunteers
Patron: Edward Beckett Directors: Sam Slote and S. E. Wilmer Deputy Director: Nicholas Johnson Administrator: Seona MacReamoinn Staff: Sinéad Finegan, Alessandra Nania, Mathilde Scialom Theatre Assistants/Crew: Marc Atkinson, Claire Blennerhassett Volunteers: Kevin Brazil, Anthony McGrath, Georgina Nugent-Flynn, Zita Reszler look for 2012 dates, programme, and future announcements at

SPECIAL THANKS TO: Our postgraduate support staff and other volunteers Dr. Darryl Jones and colleagues in the School of English Staff and colleagues of the School of Drama, Film, and Music Bernard Meehan and the Manuscripts Division of the TCD Library Provost John Hegarty and Michael Colgan The Estate of Samuel Beckett and Curtis Brown University of York: Out of the Archive Beckett Conference UCD: Beckett and the “State” of Ireland Conference Trina Vargo and the U.S.-Ireland Alliance IN-KIND SUPPORTERS of the SAMUEL BECKETT SUMMER SCHOOL DU Players / Alliance Française / USIT / ATRL MAJOR SPONSORS The School of English, TCD The School of Drama, Film, and Music, TCD Trinity College Dublin Association and Trust Provost’s Visual and Performing Arts Fund The Trinity Long Room Hub Dublin: UNESCO City of Literature