ABSTRACT
We propose in this chapter both to synthesise the semiotic readings of text and performance developed in this volume and to theorise stage practice in relation to a single play, Samuel Beckett’s Krapp’s Last Tape (1965 [1958]). The two performances we use are Patrick Magee’s Royal Court performance (original staging 1958, filmed 1972) and the filmed performance of Jack MacGowran, which was lost for seventeen years, and only recently had its first screening in the posthumous season of tributes to Beckett (1990).
