The representation and experience of embodiment is a central preoccupation of Samuel Beckett’s drama, one that he explored through diverse media. McMullan investigates the full range of Beckett’s dramatic canon for stage, radio, television and film, including early drama, mimes and unpublished fragments. She examines how Beckett’s drama composes and recomposes the body in each medium, and provokes ways of perceiving, conceiving and experiencing embodiment that address wider preoccupations with corporeality, technology and systems of power. McMullan argues that the body in Beckett’s drama reveals a radical vulnerability of the flesh, questioning corporeal norms based on perfectible, autonomous or invulnerable bodies, but is also the site of a continual reworking of the self, and of the boundaries between self and other. Beckett’s re-imagining of the body presents embodiment as a collaborative performance between past and present, flesh and imagination, self and other, including the spectator / listener.

chapter 1|14 pages


chapter 2|16 pages

Dehiscent Bodies

From ‘Le Kid’ to Eleutheria

chapter 4|12 pages

‘This visible flesh’

Krapp's Last Tape and Happy Days

chapter 5|10 pages

Mimes and Fragments

Corporeal Laboratories

chapter 6|14 pages

Radiophonic Embodiments

chapter 7|7 pages

The Flesh of the Screen and the ‘eye of prey’

Beckett’s Film

chapter 9|26 pages

The Late Theatre

Performing Traces of Embodiment

chapter 10|11 pages

Mutated Bodies

Stage Performances of Beckett’s Late Prose Texts

chapter 11|3 pages


Re-embodying Beckett’s Drama in the Twenty-first Century