Battered but Unbowed: How Beckett Speaks to a New Era
Adaptations of “Happy Days” and “First Love,” works by the master of existential wheel-spinning, show us how to live in place.
Tessa Albertson is a younger-than-usual Winnie in Samuel Beckett’s “Happy Days,” directed by Nico Krell.Credit.via The Wild Project
Stuck. Winnie is stuck. So have we all been this past year, far more than usual.
“What a curse, mobility!” she says, doing the requisite mental contortions to be OK with her circumstance.
In Samuel Beckett’s deep, dark comedy “Happy Days,” Winnie is engulfed in earth first up to her torso, then up to her neck: grim and grimmer. Still she perseveres, with as much cheer as she can muster.
Samuel Beckett s Happy Days, Princeton University s Fund for Irish Studies
Samuel Becketts Happy Days Princeton Universitys Fund For Irish Studies
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4:30 PM
A filmed production of Samuel Beckett s Happy Days ( One of the most unforgettable plays in the modern canon. –The New York Times), produced by The Wild Project of New York s East Village in association with Princeton University s Fund for Irish Studies in recognition of this modernist masterpiece s 60th anniversary. In the ultimate emblem of perseverance, Beckett s Winnie, a tour de force of charm and grit helplessly buried up to her waist in the ground, endures the wearisome humdrum of endless, interchangeable days. And now, speaking to an audience who has faced a year of quarantine, the play endures as well. Featuring Princeton alumni Tessa Albertson and Jake Austin Robertson and directed by alumnus Nico Krell.
Common calendar, Packet papers, March 5
Common calendar, Packet papers, March 5
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