Waiting for Godot in New Orleans
Modernist Autonomy and Transnational Performance in Paul Chan's Beckett
Bibliographic Data
| ID | 4553278 |
|---|---|
| Authors | Alys Moody (0000-0002-7584-4510, University of Waikato, corresponding author) |
| Year | 2013 |
| Volume | 65 |
| Issue | 4 |
| Pages | 537-557 |
| Publication date | 2013-12-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Theatre Journal (JOURNAL) |
| Journal identifiers | ISSN: 0192-2882 • E-ISSN: 1086-332X |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/tj.2013.0131 |
| OpenAlex | W2082697402 |
| Language | EN |
| Citations received | 1 |
| References cited | 8 |
In 2007, Paul Chan mounted a project, Waiting for Godot in New Orleans , that took as its centerpiece the performance of Samuel Beckett's modernist play Waiting for Godot in the devastated streets of post-Katrina New Orleans. This essay argues that this transnational, community-based performance of a quintessentially modernist play offers a way of reconceptualizing transnational modernism in light of the dynamics of performance, and intercultural and community-based theatre practices in light of the pressures of modernist autonomy. Read in this light, Chan's project emerges as a provocative attempt to redeploy the autonomous, decontextualizing impulses of Beckett's play, putting them to work as the basis for new community formations and forms of social and political engagement
Aesthetics · Art · Autonomy · Modernism (music · Political science · Politics · Sociology · Jewish and Middle Eastern Studies · Law · Samuel Beckett and Modernism · Theatre and Performance Studies
| Citation velocity | historical |
|---|---|
| Highly cited | No |