Reflections on Beckett: a centenary celebration

The essays in this collection were originally delivered as part of the Samuel Beckett lecture series at Trinity College Dublin, Samuel Beckett's alma mater. The contributors include eminent Beckett scholars such as Linda Ben-Zvi, Enoch Brater, Ruby Cohn and Stan Gontarski, theatre scholars such as Herbert Blau and Joseph Roach, practitioners such as the Irish actor, Barry McGovern, and cultural critics such as Marina Warner and Terry Eagleton. The collection sheds new light on Beckett's enigmatic theater, offering new perspectives on Beckett's use of language and silence, on his attitudes toward the body, on those who influenced him and on those he has influenced (including Suzan-Lori Parks and Femi Osofisan), and on Beckett and the art of self-collaboration. Each contributor places the playwright into a network of genealogies and legacies and his work into important historical, cultural, and aesthetic contexts. Together, the essays demonstrate Beckett's impact on theater, performance, and visual arts during the latter half of the twentieth century and serve to open up new directions for Beckett studies.

Measurement of the salinity and freezing tolerance of Crataegus genotypes using chlorophyll fluorescence

The effect of increasing salinity and freezing stress singly and in combination on a range of chlorophyll fluorescence parameters in foliar tissue of six Crataegus genotypes was examined. In general, increased stress reduced fluorescence values and absorption, trapping and electron transport energy fluxes per leaf reaction center and cross section, with decreased sigmoidicity of OJIP curves as a measure of the plastoquinone pool, reflecting decreased energy fluxes. Based on percentage reduction in a performance index from controls compared to stress-treated values, plants were ranked in order of tolerant > intermediate > sensitive. Use of this PIp ranking criteria enabled the distinguishing of marked differences in foliar salt/freezing hardiness between the Crataegus species used. Interpretation of the photochemical data showed that salinity and freezing affects both the acceptor and donor side of Photosystem II, while OJIP observations provided information regarding structural and functional changes in the leaf photosynthetic apparatus of the test species. It is concluded that chlorophyll fluorescence offers a rapid screening technique for assessing foliar salinity and freezing tolerance of woody perennials

Foliar salt tolerance of Acer genotypes using chlorophyll fluorescence

The effect of increasing salinity on a range of chlorophyll fluorescence parameters in foliar tissue of 30 Acer genotypes was examined. The magnitude of the fluorescence responses differed among genotypes ranging from minor effects to substantial leaf tissue damage. Interpretation of the fluorescence expressions provided an insight into mechanisms of salt damage and resilience among genotypes. Based on reductions in a performance index (PIp) following salinity, genotypes were ranked in order from tolerant to sensitive. Based on this ranking criterion, marked differences in salt tolerance among genotypes were distinguished. It is concluded that chlorophyll fluorescence offers a rapid screening technique for assessing the foliar salinity tolerance of urban trees.

Voice, body and the transmission of the real in documentary theatre

This article analyses how listening is used to develop performances in Alecky Blythe’s verbatim theatre. Listening includes Blythe’s use of recorded oral interviews for devising performances, and also the actors’ creation of performance by precisely imitating an interviewee’s voice. The article focuses on listening, speaking and embodiment in London Road, Blythe’s recent musical play at London’s National Theatre, which adopted and modified theatre strategies used in her other plays, especially The Girlfriend Experience and Do We look Like Refugees. The article draws on interviews with performers and with Blythe herself, in its critical analysis of how voice legitimates claims to authenticity in performance. The work on Blythe is contextualised by brief comparative analyses. One is Clio Barnard’s film The Arbor, a ‘quasi-documentary’ on the playwright, Andrea Dunbar which makes use of an oral script to which the actors lip-sync. The other comparator is the Wooster Group’s Poor Theater, which attempts to recreate Grotowski's Akropolis via vocal impersonation. The article argues that voice in London Road both claims and defers authenticity and authority, inasmuch as voice signifies presence and embodied identity but the reworking of speech into song signals the absence of the real. The translation of voice into written surtitles works similarly in Do We Look Like Refugees. Blythe’s theatre, Barnard’s film and The Wooster Group’s performances are a useful framework for addressing questions of voice and identity, and authenticity and replication in documentary theatre. The article concludes by placing Blythe’s oral texts amid current debates around theatre’s textual practices.