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Beckett’s Not I vs. del Amo’s Yo no :some notes on cultural translation

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For Beckett, the process of writing plays became inseparable from their performance, and his work as director of his own dramas is evidence of the merging of these aspects of their creation. In Not I, incorporating probably Beckett’s most stunning stage image, the rather minimalist stage directions create a delicate visual and aural composition of voice and (fragmented) bodies. This article aims to consider some of the guidelines Beckett wrote in the verbal text of Not I, or set forth after his directorial involvement; both being an attempt to establish his own ‘standard of performance’. It will subsequently offer an analysis of how these guidelines have been read and rewritten for the performance of Yo no, a Spanish production which introduced significant changes to Beckett’s standard mise-enscène. This analysis will seek to bring such controversy over Beckett’s authorship and canon into the field of intercultural theatre.

Keywords: Alvaro del Amo; Beckett; Marisa Paredes; Not I; Yo no; interpretation

Document Type: Research Article

DOI: http://dx.doi.org/10.1386/stap.25.1.23/0

Affiliations: University of Madrid

Publication date: February 1, 2005

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  • Studies in Theatre and Performance is a peer-reviewed journal which fosters a progressive forum to explore the nuances of theatre practice. The journal provides a critical scope to include other related disciplines in its scrutiny of the stage, exploring the interplay between performance, audience and dramatic practice.
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