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of the 2012 Samuel Beckett Summer School!

15 - 20 July 2012
The School of English & The School of Drama, Film and Music

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

Front Gate: Meet for walk to Odessa Club

Nassau Street Gate (toward Davy Byrne’s)

KC Peaches Dunne & Crescenzi National Library of Ireland

Trinity Long Room Hub (Lectures)

Kennedy’s Pub

Walking to ATRL
Arts Technology Research Laboratory (ATRL)

Table of Venues
Summer School Academic Programme: GRADUATE MEMORIAL BUILDING (GMB) — Arrival Registration, Manuscript Seminar TRINITY LONG ROOM HUB (First Floor) — Morning Lectures SAMUEL BECKETT CENTRE (Players Theatre) — Performance Workshop THE OLD LIBRARY (The Long Room) — Monday Launch Event NATIONAL LIBRARY OF IRELAND (Kildare Street) — Beckett & Irish Culture 1929-49 Seminar Summer School Public Programme & Performances: ARTS TECHNOLOGY RESEARCH LAB (Pearse Street & Macken Street) — ‘Behind All That Fall’ TRINITY LONG ROOM HUB (First Floor) — ‘Silence to Silence’ GRADUATE MEMORIAL BUILDING (GMB) — Barry McGovern, Anthony Cronin SAMUEL BECKETT CENTRE (Players Theatre) — ‘Rockaby/Berceuse’ and ‘Footfalls’ Summer School Social Programme & Meals: *DAVY BYRNE’S PUB (Duke Street) — Sunday Welcome Drinks THE BUTTERY (The Lavazza Vaults) — Daily Lunch *DUNNE & CRESCENZI (South Frederick Street) — Monday Dinner (optional) *ELY WINE BAR (Grand Canal Dock) — Tuesday Dinner (optional) *KC PEACHES (Nassau Street) — Wednesday Dinner (optional) *KENNEDY’S PUB (Lincoln Place/Westland Row) — Thursday Dinner (optional) ODESSA CLUB & RESTAURANT (Dame Court) — Friday Banquet *The Beckett Summer School has reserved places in certain Dublin pubs and restaurants (SundayThursday) after each night’s programmed event to facilitate a space for students and staff to converse and meet outside the bounds of the lectures and seminars. These 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 night’s banquet dinner. Meeting Points for Off-Campus Events: NAUGHTON GATE (next to Science Gallery) — meet 7:00 Tuesday for walk to ATRL FRONT GATE — meet 7:15 Friday for walk to Odessa Club & Restaurant dinner

Schedule/Venue Quick Reference
Sunday 15 July

Schedule/Venue Quick Reference
(continued) Monday 16 July

Tuesday 17 July

Wednesday 18 July

Wednesday 18 July (continued)

Thursday 19 July

Friday 20 July

SUNDAY 15 JULY 2012 REGISTRATION & WELCOME 5.00pm - 7.00pm, Graduate Memorial Building (GMB): Summer School registration opens OPENING LECTURE — RODNEY SHARKEY (*shared with the UCD conference ‘Beckett and the “State” of Ireland’) 6.00pm - 7.00pm, Graduate Memorial Buliding (GMB): Rodney Sharkey — ‘Local’ Anaesthetic for a ‘Public’ Birth: Beckett, Parturition, and the Porter Period 7.30pm onward, Davy Byrne’s Pub, Duke Street (off Dawson Street): Welcome drinks for students, staff, and friends of the Summer School MONDAY 16 JULY 2012! 8.30am - 9.30am, Graduate Memorial Building (GMB): Registration continues / Public Programme Ticketing LECTURE — DECLAN KIBERD 9.30am - 11.00am, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Declan Kiberd — Samuel Beckett: Mystic? COFFEE BREAK 11.00am - 11.30am, Lecture Theatre Foyer, Trinity Long Room Hub (First Floor) LECTURE — SEÁN KENNEDY 11.30am - 1.00pm, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Seán Kennedy — Beckett,Yeats, and the Big House, 1933 LUNCH 1.00pm - 2.30pm, ‘Lavazza Vaults’, The Buttery, Dining Hall, Front Square SEMINAR SESSIONS 2.30pm - 5.30pm Graduate Memorial Building (GMB) Beckett’s Manuscripts / led by Mark Nixon and Dirk Van Hulle National Library of Ireland Seminar Room (Kildare Street) Beckett and Irish Culture 1929-49 / led by Seán Kennedy Samuel Beckett Centre (Players Theatre) Beckett Performance Workshop / led by Jonathan Heron

MONDAY 16 JULY 2012 (continued) BECKETT SUMMER SCHOOL LAUNCH 6.30 pm, The Long Room, The Old Library Remarks by the Barry McGovern and Jane Ohlmeyer,Vice-Provost for Global Relations Opening of the Beckett Manuscripts special display Optional Dinner Arrangement: Dunne & Crescenzi, South Frederick Street TUESDAY 17 JULY 2012 9.00am - 9.30am, Graduate Memorial Building (GMB): Public Programme Ticketing LECTURE — ANDREW GIBSON 9.30am - 11.00am, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Andrew Gibson — Samuel Beckett, ‘How It Is’, and the Irish Misanthropic Tradition LUNCH — 11.30am - 12.30pm, ‘Lavazza Vaults’, The Buttery, Dining Hall, Front Square *Note early lunch today PUBLIC PROGRAMME — ‘SILENCE TO SILENCE’ 12.30pm - 2.00pm, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): A screening of Seán Ó Mórdha’s documentary ‘Silence to Silence’ Introduced by Declan Kiberd 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 Irish Culture 1929-49 / led by Seán Kennedy * Note venue change today only Samuel Beckett Centre (Players Theatre) Beckett Performance Workshop / led by Jonathan Heron PUBLIC PROGRAMME — BEHIND ALL THAT FALL 7.30 pm - 9.00, Arts Technology Research Laboratory (ATRL) Meet at Naughton Gate at 7.00pm for optional guided walk to ATRL A multimedia conversation with Pan Pan focusing on their award-winning production ‘All That Fall’, featuring director Gavin Quinn, designer Aedín Cosgrove, and sound designer Jimmy Eadie / moderated by Nicholas Johnson Optional Dinner Arrangement: Ely Wine Bar, Grand Canal Dock

WEDNESDAY 18 JULY 2012! 10.00am - 10.30am, Graduate Memorial Building (GMB): Public Programme Ticketing LECTURE — ENOCH BRATER 10.30am - 12.00pm, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Enoch Brater — Beckett’s Dramatic Forms, Considered and Reconsidered LUNCH — 12.00pm - 1.00pm, ‘Lavazza Vaults’, The Buttery, Dining Hall, Front Square *Note early lunch today PUBLIC PROGRAMME — BARRY McGOVERN 1.00pm - 2.00pm, Graduate Memorial Building (GMB): Barry McGovern reads Samuel Beckett’s Poetry and Prose ‘NO LACK OF VOID’ 2.00pm - 6.00pm, Open day in Dublin — no seminar meetings today PUBLIC PROGRAMME — ANTHONY CRONIN 6.00pm - 7.00pm, Graduate Memorial Building (GMB): Anthony Cronin in conversation with Terence Brown Optional Dinner Arrangement: KC Peaches (downstairs), Nassau Street THURSDAY 19 JULY 2012 9.00am - 9.30am, Graduate Memorial Building (GMB): Public Programme Ticketing LECTURE — ULRIKA MAUDE 9.30am - 11.00am, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Ulrika Maude — Convulsive Aesthetics: Beckett, Chaplin, and Charcot COFFEE BREAK — 11.00am - 11.30am, Lecture Theatre Foyer, Trinity Long Room Hub (First Floor) LECTURE — EMILIE MORIN 11.30am - 1.00pm, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Emilie Morin — Beckett and Radiophonic Sound LUNCH 1.00pm - 2.30pm, ‘Lavazza Vaults’, The Buttery, Dining Hall, Front Square SEMINAR SESSIONS 2.30pm - 5.30pm Graduate Memorial Building (GMB) Beckett’s Manuscripts / led by Mark Nixon and Dirk Van Hulle National Library of Ireland Seminar Room (Kildare Street) Beckett and Irish Culture 1929-49 / led by Seán Kennedy * Note early ending time of 4.50pm

THURSDAY 19 JULY 2012 (continued) Samuel Beckett Centre (Players Theatre) Beckett Performance Workshop / led by Jonathan Heron ‘ROCKABY/BERCEUSE’ and ‘FOOTFALLS’ by SAMUEL BECKETT 7.30 pm, Players Theatre, Samuel Beckett Centre Performed by Rosemary Pountney Followed by Q & A with Rosemary Pountney, moderated by Jonathan Heron Optional Dinner Arrangement: Kennedy’s Pub, Lincoln Place and Westland Row FRIDAY 20 JULY 2012! LECTURE — TERENCE BROWN 9.30am - 11.00am, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Terence Brown — Beckett: Memories and Sounds COFFEE BREAK —!11.00am - 11.30am, Lecture Theatre Foyer, Trinity Long Room Hub (First Floor) LECTURE — JONATHAN HERON 11.30am - 1.00pm, Neill/Hoey Lecture Theatre, Trinity Long Room Hub (First Floor): Jonathan Heron — Theatre Laboratories: Performance Genetics and ‘Beckett’s DNA’ LUNCH —!1.00pm - 2.30pm, ‘Lavazza Vaults’, The Buttery, Dining Hall, Front Square SEMINAR SESSIONS 2.30pm - 5.00pm *Note early ending time Graduate Memorial Building (GMB) Beckett’s Manuscripts / led by Mark Nixon and Dirk Van Hulle National Library of Ireland Seminar Room (Kildare Street) Beckett and Irish Culture 1929-49 / led by Seán Kennedy Samuel Beckett Centre (Players Theatre) Beckett Performance Workshop / led by Jonathan Heron PERFORMANCE WORKSHOP 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

‘Good. I am alone. It is summer. Time passes.’ —’What Where’, 1983

About the Seminars
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 and Irish Culture, 1929-49 (Seán Kennedy) This seminar will examine the work on Samuel Beckett in the context of Irish culture, paying special attention to events in Ireland leading up to and from the foundation of the Irish Free State. Since Ireland’s relevance to Beckett is often held to have declined significantly after World War Two, we will spend most of our time reading the post-war works, especially Watt, the Four Novellas, Mercier and Camier, and Endgame. We might, if we have time, also look at All That Fall. The idea will be to examine Ireland’s enduring relevance and tenacious yet tenuous presence in Beckett’s mature writing. Beckett Performance Workshop (Jonathan Heron) 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 Public Programme
The Beckett Summer School has expanded its performance programme in 2012 to include more events that the wider public may attend. Access to all of these events are free for registered students and staff members of the Summer School. The Beckett Summer School gratefully acknowledges the support of the Provost’s Fund for the Visual and Performing Arts in this performance programme, as well as in-kind support from DU Players, the Long Room Hub, and ATRL. ‘Silence to Silence’ directed by Seán Ó Mórdha, introduced by Declan Kiberd 12:30 PM, Tuesday 17 July, Neill/Hoey Lecture Theatre, The Long Room Hub
This documentary film, shot on location in Dublin and France, traces the artistic life of Samuel Beckett through his prose, plays, and poetry. Beckett personally guided RTÉ in the making of the film, which included previously unseen visual material at the time of its screening, including the original manuscript of Waiting for Godot. The script was written by Declan Kiberd, who will introduce the film. The film features appearances by some of Beckett’s great dramatic interpreters, including David Warrilow, Billie Whitelaw, Jack McGowran, Patrick Magee, and Barry McGovern in selected extracts from the plays. The programme score is based on the works of Schubert. The Beckett Summer School gratefully acknowledges the assistance of RTÉ in arranging this screening, which is offered here to the public with free admission.

Behind All That Fall: In Conversation with Pan Pan 7:30 PM, Tuesday 17 July 2012, ATRL
All That Fall is a multi-layered composition of voices that can be experienced as black comedy, a murder mystery, a cryptic literary riddle or a quasi-musical score. In 2011 Pan Pan created an atmospheric, theatrically tuned ‘listening chamber’ for a new recording of this radio play, turning it into a new and fascinating theatrical installation/performance work. The production garnered great critical acclaim, as well as the Irish Times Theatre Awards for Best Lighting and Best Sound Design. In this event specially designed for the Beckett Summer School, Pan Pan’s dynamic production will be explored through sound and image, guided by the work’s creators. The ensuing conversation will feature director Gavin Quinn, designer Aedín Cosgrove, and sound designer Jimmy Eadie, and will be moderated by Nicholas Johnson.

About the Company
Pan Pan was founded in 1991 by director Gavin Quinn and designer Aedín Cosgrove. For nearly two decades, the company has been at the forefront of the development of theatre art, with innovation in performance as its raison d’être. Pan Pan has continually re-examined and challenged the nature of its work and has resisted settling into well-tried formulas, constantly striving to be individual, to explore the new and to express the contemporary. All the works created are original, either through the writing (original plays) or through the unique new expression of established writings. The company has developed an individual aesthetic that has grown from the creation and production of contemporary live performance in a variety of locations and situations both in Ireland and further afield. Pan Pan also founded and produced five editions of the Dublin International Theatre Symposium (1997-2003), a programme of talks, workshops, and performances delivered by leading contemporary theatre companies from fourteen different countries. Recent international touring includes PS122 New York, Portland Institute of Contemporary Arts, the Syndey Festival, Brisbane Powerhouse, Aarhus Festival, as well as performances in Beijing and Shanghai. In October 2010 the company premiered two new productions: The Rehearsal, Playing the Dane, a new presentation of Shakespeare’s Hamlet, and Fight the Landlord, a newly commissioned play by Chinese writer Sun Yue, as part of the official cultural programme at the Ireland Pavilion of the Shanghai World Expo and at the Shanghai Dramatic Arts Centre. Pan Pan ended 2010 closer to home, touring to Cork, Galway, and Limerick with internationally renowned production Oedipus Loves You. All That Fall is Pan Pan’s latest work, created in August 2011. Pan Pan is supported by the Arts Council, Culture Ireland and Dublin City Council. Pan Pan’s All That Fall will be presented in 2012 in the ‘Happy Days’ Enniskillen International Beckett Festival. Full artist credits/bios for the production will be included in a separate programme at the event.

Barry McGovern Reads Samuel Beckett’s Poetry and Prose 1:00 PM, Wednesday 18 July, Graduate Memorial Building (GMB)
Barry McGovern, one of Beckett’s foremost dramatic interpreters, will present a public reading of Beckett texts that he has personally selected for the occasion. This is an excellent opportunity to experience the sharpness, clarity, humour, and relish of Beckett’s language anew. In the voice of this masterful performer, the potent sounds and profound thoughts within Beckett’s poetry and prose are brought (again) to life.

Anthony Cronin in Conversation with Terence Brown 6:00 PM, Wednesday 18 July, Graduate Memorial Building (GMB)
This interview is a rare opportunity to hear Anthony Cronin, a major figure of Irish letters and one of Beckett’s biographers, speak about his relationship with Beckett and his own life in art. Cronin is the author of Samuel Beckett: The Last Modernist, and a noted poet, columnist, and teacher. He will speak in dialogue with Professor Terence Brown, of Trinity College Dublin’s School of English.

‘Rockaby/Berceuse’ and ‘Footfalls’ performed by Rosemary Pountney 7:30 PM, Thursday 19 July, Players Theatre, Samuel Beckett Centre
Rosemary Pountney performed in the Dublin premiere of Footfalls and Not I in 1978 and worked directly with Samuel Beckett on her performance in Footfalls in 1980. Originally presented at the ‘Samuel Beckett in Bergen’ gathering earlier in 2012, this combination of pieces and particular approach was conceived by

Pountney and directed by Tore Nysæther. The Beckett Summer School gratefully acknowledges his support and original direction, as well as the assistance of Erik Tonning and the University of Bergen in bringing this version to Dublin. What follows is the programme note from Bergen: Samuel Beckett wrote most of his plays in English first and then translated them into French. His language is full of musicality and repetition. In Rockaby/Berceuse, we are experimenting with the very different sound of the play in two languages, by repeating the final section of the play in French, without a break. This is one way of emphasising a fundamental feature of all Beckett’s late drama, which is best summed up by a famous stage direction in the 1963 work Play: ‘Repeat play’. In these plays, Beckett invented structural techniques for forcing his audience to meditate ever more deeply on the repetitive, circular and obsessive dilemmas in which his characters find themselves. In Footfalls, we are experimenting with the use of light and shadow. This too had become a central concern for Beckett in the two radical plays written before the 1975 Footfalls: Play (1963) and Not I (1972). In Play, three heads sticking out of funeral urns are forced to speak by a torturing spotlight moving rapidly from face to face: an idea which exactly reverses the usual function of the spotlight as a mere support for the speaking actor. In Not I, the light focuses on the moving, fluorescent lips of an isolated mouth, flickering at great speed as if not to relapse into darkness. And in Footfalls, a tiny, lighted strip of stage has become the whole of the character’s ghostly existence, slowly dimming to a vanishing point. In the first scene, the audience eavesdrops on a conversation between mother and daughter, as a ghostly shadow moves across the stage to the sound of footsteps. In scene two, the daughter, a shadowy figure, listens to her unseen mother’s voice. By scene three, much time has passed and we see the daughter reliving her past. Finally, in scene four, she too has vanished into the fading light. In Beckett’s stage direction: ‘No trace of May’. The plays will be followed, after a short break, by a post-show discussion with Rosemary Pountney, moderated by Jonathan Heron. All roles are performed by Rosemary Pountney. Recordings were done at the Soundworks Studio, Oxford. This performance is produced by Nicholas Johnson, with lighting by Marc Atkinson, set by Ferdia Cahill, sound by Nicholas Johnson, and stage management by Jennifer Schnarr.

A Meditation on Quad Monday - Wednesday, various times, Front Square
A Meditation on Quad is an outdoor variation of Samuel Beckett’s Quad (I) which takes place on Trinity Front Square during the Samuel Beckett Summer School week. As a kind of invisible theatre, it does mainly aim for the creation of theatre space in a public area through the very simple and poetic movement. While it may not even be recognized by the audience as a performance, for the performers it becomes a 3-hour-long intense meditation in which they are confronted with themselves and the movement. Directed and conceived by Jennifer Schnarr Blue — Venetia Bowe / Red — Elizabeth O’Rafferty / White — Hugo Kai Niklas Lau / Yellow — Jennifer Schnarr

Lecturer, Performer, and Staff Biographies
(arranged alphabetically) Enoch Brater is the!Kenneth T. Rowe Collegiate Professor of Dramatic Literature & Professor of English and Theater at the University of Michigan. His main works on Beckett include Beyond Minimalism: Beckett's Late Style in the Theater (1987), The Drama in the Text: Beckett's Late Fiction (1994), and, most recently, 10 Ways of Thinking about Samuel Beckett (2011). Terence Brown is Professor Emeritus of Anglo-Irish Literature at Trinity College Dublin. He has published extensively on Irish literature and cultural history. The third edition of his book Ireland: A Social and Cultural History was published in 2004. His most recent book is!The Literature of Ireland:!Culture and Criticism (2010).

Aedín Cosgrove co-founded Pan Pan in 1991. From 1994 to 1996 she also worked with Corcadorca, designing all aspects of the original productions of Disco Pigs and Misterman by Enda Walsh, as well The Mai by Marina Carr at the Abbey Theatre. She has designed numerous award-winning productions with Pan Pan. In 2006, Cosgrove travelled with director Sarah-Jane Scaife to Kuala Lumpur, Malaysia, and Athens, Greece, to the Samuel Beckett Centenary Residency program, during which time they produced Come and Go, Rough for Theatre I, Act Without Words II, Footfalls, and Nacht und Träume. In 2009 they produced Act Without Words II at Absolut Fringe, which was then presented at Dublin Theatre Festival 2010. In 2011 her design for Corn Exchange’s production Man of Valour won the best overall design award at Absolut Fringe. Anthony Cronin is the author of several books of verse including the long poems RMS Titanic, Reductionist Poem and The End of the Modern World, as well as various other collections, of which the latest is The Minotaur and Other Poems (1999). A novel, The Life of Riley, appeared in 1964 and was succeeded by Identity Papers in 1979. He has also written a memoir of literary Dublin and London, Dead as Doornails (1976); No Laughing Matter, The Life and Times of Flann O'Brien (1989); and Samuel Beckett, The Last Modernist (1996). His critical books include A Question of Modernity (1964) and Heritage Now, Irish Literature in the English Language (1981). Other collections of essays, largely selections from a column he contributed to the Irish Times between 1974 and 1987, are An Irish Eye (1985) and Art for the People? (1988). A play, The Shame of It, was produced at the Peacock in 1974. He has been associate editor of The Bell and literary editor of Time and Tide; has taught at Drake University and the University of Montana; and was cultural and artistic adviser to former Taoiseach, Charles J. Haughey. In 1983 he received the Marten Toonder Award for his contribution to Irish literature. He was elected Saoi of Aosdána in 2003. Andrew Gibson is Research Professor of Modern Literature and Theory at Royal Holloway, University of London. He has!worked for many years and published extensively on Samuel Beckett. In particular, in recent years, he has been thinking about the relationship between Beckett’s work and that of!contemporary philosopher Alain Badiou and!has also written a short biography,!Samuel Beckett: A Critical Life, published by Reaktion Books. Jonathan Heron is the!Artistic Director, Fail Better Productions !and!IATL Teaching Fellow at the University of Warwick.!His recent work as a theatre director has included!Diary of a Madman/Discords!(Warwick Arts Centre),!The Nativity!(Pegasus Oxford), Stasis: Beckett Shorts!(Oxford!Playhouse) and!Play without a Title!(Belgrade Coventry). Nicholas Johnson is Assistant Professor in Drama at Trinity College Dublin, as well as a performer, theatre director, and writer. Recent practice-based research projects on Beckett include 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 Sofia, Bulgaria and in Dublin. He is director of Painted Filly Theatre and deputy director of the Samuel Beckett Summer School. Seán Kennedy is Associate Professor of English at Coordinator of Irish Studies at Saint Mary's University, Halifax, Nova Scotia. He is the editor of Beckett and Ireland and, with Katherine Weiss, Samuel Beckett: History, Memory, Archive. He is currently working on a book, Beckett and the Big House. Declan Kiberd!is!the Donald and Marilyn Keough Professor of Irish Studies and!professor of English at the University of Notre Dame. A leading international authority on the literature of Ireland, both in English and Irish, Kiberd has authored scores of articles and many books, including!Synge and the Irish Language,!Men and Feminism in Irish Literature,!Irish Classics,!The Irish Writer and the World,!Inventing Ireland, and, most recently,!Ulysses and Us:!The Art of Everyday Life in Joyce’s Masterpiece!(2009). Ulrika Maude is a Senior Lecturer at the University of Reading. She!has published essays and articles on modernist literature, perception and philosophies of embodiment. Her book!Beckett, Technology and the Body was!published by Cambridge University Press in 2009. She is co-editor of!The Body and the Arts!(2009) and!Beckett!and Phenomenology!(2009). Emilie Morin is a Lecturer at the University of York. She is the author of!Samuel Beckett and the Problem of Irishness (2009) and is currently working on a book!tentatively titled!Samuel Beckett and Cultural Politics.

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. 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, 2013) 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. Rosemary Pountney began her career in the theatre, later taking a degree in English at the University of Oxford, followed by a doctorate on Beckett’s later drama (subsequently published as Theatre of Shadows.) She began her academic career at University College Dublin, followed by a Senior Lectureship and Research Fellowship in Drama at the University of Winchester and a Lectureship in English at Jesus College, Oxford. While working on her Beckett thesis she began acting again and performed Not I in 1976 at Oxford Playhouse and the Irish Premieres of Not I and Footfalls at the Irish Theatre Festival in Dublin in 1978, followed by Footfalls at Oxford Playhouse in 1980 (also performed at theatres in Dublin and the USA in 1981.) In the 1990’s she performed the Czech and Hungarian premieres of Footfalls and Rockaby in Prague and Szeged respectively, and toured with Rockaby to the Schauspielhaus Dusseldorf, the Wallgraben Theatre Freiburg and Teater Neumarkt Zurich, as well as theatres in England and France. She also toured University theatres in Australia, New Zealand, Hawaii and Canada in 1990 and 1997, performing and lecturing on Beckett’s drama. She knew Beckett, who helped her rehearse her role in Footfalls in 1980. In recent years she has performed and given readings in Oxford, London, Rome, Northampton, Warwick, and Bergen. She is an Honorary Fellow of St. Anne’s College, Oxford. Gavin Quinn is joint artistic director of Pan Pan, which he founded with Aedín Cosgrove in 1991. Selected productions include A Bronze Twist of Your Serpent Muscles by Gavin Quinn (winner of Best Overall Production, Dublin Fringe Festival, 1995); Cartoon (1997); Standoffish by Gavin Quinn (Best Production, Advertiser, Adelaide 2000); Deflowerfucked (2001); Mac-Beth 7 (2004); One: Healing with Theatre (2005); The Playboy of the Western World (in both Beijing and Dublin, in Mandarin and with a Chinese cast, 2006); Oedipus Loves You by Gavin Quinn and Simon Doyle (2006); The Crumb Trail by Gina Moxley (2009); All That Fall by Samuel Beckett (2011). He also directs for opera. Gavin is a Board Member of the Ulster Bank Dublin Theatre Festival, Irish Modern Dance Theatre, The National Association of Youth Theatre and The Irish Theatre Institute. Jennifer Schnarr is a student of Drama Studies and Philosophy at Freie Universität Berlin and went to Trinity College Dublin as an Erasmus scholar in 2011/2012. In Germany she was a member of several youth theatre clubs, including Bühnenläufer Usedom, Spieltrieb Wolgast, P14 (Volksbühne) and as well as the junges dt (Deutschtes Theater). In 2009 she wrote and produced the play Emelie und Raphael (Spiegelbilder) at the Landesbühne Vorpommern. For the Samuel Beckett Summer School she devised a version of Beckett’s Quad (I). Rodney Sharkey is a native of Dublin where he studied literature at University College Dublin (B.A. and M.A.) and Trinity College (Ph.D.).!His specialized fields of interest!are in Anglo-Irish literature, critical theory, performance dynamics and popular culture. He publishes regularly, particularly on Beckett, and also produces and directs!theatrical and musical events, such as "Hair," "Catastrophe,"!!"Glengarry Glen Ross”

and "Baggage."!!!Currently, he teaches literature in the pre-medical program of Weill-Cornell Medical College, Qatar campus. Sam Slote!is Assistant Professor 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-by-Chapter 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 co-ordinators for the 2008 International James Joyce Symposium at!the Université FrançoisRabelais in Tours, France. He is a Trustee of the International James Joyce Foundation and Director of the Samuel Beckett Summer School. !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, 2013). 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 School Administrator (Drama, Film & Music): Simone Cameron-Coen School Administrator (English): Orla McCarthy Staff: Alessandra Nania, Sinéad Finegan, Marion Fresneau Theatre Assistants/Crew: Marc Atkinson, Ferdia Cahill, Jennifer Schnarr Volunteers: Julie Bates, Anthony McGrath, Georgina Nugent-Folan, Zita Reszler, Stephen Stacey look for 2013 dates, programme, and future announcements at

SPECIAL THANKS TO: Our postgraduate support staff and other volunteers • Darryl Jones, Eve Patten, and colleagues in the School of English • Staff and colleagues of the School of Drama, Film, and Music • The Manuscripts Division of the TCD Library • Provost Patrick Prendergast •!Michael Colgan and the staff of the Gate Theatre • The Estate of Samuel Beckett • Curtis Brown • UCD: Beckett and the “State” of Ireland Conference •!Trina Vargo and the U.S.-Ireland Alliance • David & Maria Delaney IN-KIND SUPPORTERS of the SAMUEL BECKETT SUMMER SCHOOL DU Players / National Library of Ireland / USIT / ATRL / UNESCO DublinNeill MAJOR SPONSORS The School of English, TCD The School of Drama, Film, and Music, TCD Trinity College Dublin Association and Trust Provost’s Fund for the Visual and Performing Arts The Trinity Long Room Hub