ABSTRACT
This chapter elaboratesThe Beckett Project. It says that if in-depth psychophysical training takes one to the “edge of a breath” where thought takes shape as impulse/action—a place where one “stands still while not standing still,” Beckett’s plays take the actor to this same place “between” where meanings, associations, and experiences are left open for the audience.The chapter explains that both the actor's work and Beckett's plays inhabit this state or place GÇ£between.GÇ¥. Beckett's scores, do not so much inhibit the actor's creativity but aptly challenge it, requiring the work of the contemporary actor to be as precise as that of Japanese noh. This chapter provides examples of how the actor can access an energetics for delivering Beckett's texts by inhabiting vocal resonance and vibration in lieu of overt color. The Beckett Project was premiered at the Grove Theater Center, Los Angeles. The third staging of The Beckett Project took place at the Granary Theatre, Cork, Ireland.
