Abstract
What does it mean when a work written specifically for television is transposed to the stage, as film director Atom Egoyan does with Beckett’s Eh Joe? Beckett’s sparse and minimalist pieces have continuously addressed the nature and ontology of medium for which they were created. As well as examining the ways in which Eh Joe (1965) exemplifies this, this article will address the implications of such a transposition, and how Egoyan’s version reveals the haptic interface present in the original piece, between body and technology, between flesh and the ‘spirit made light’ of the electronic broadcast.
| Original language | English |
|---|---|
| Pages (from-to) | 463-475 |
| Number of pages | 13 |
| Journal | Samuel Beckett Today / Aujourd'hui |
| Volume | 22 |
| Issue number | 1 |
| Publication status | Published - Oct 2010 |