Abstract
While the preceding chapter examined the importance of listening for Beckett’s figures, here the focus is on the speech act itself and the orifice that enables it. This chapter will be attuned to the limit and tension between inner and outer as imaged in the tacky, productive orifice of the mouth. Sticky, tacky contortions of this organ produce speech and speech attempts to make sense of the self, of the body, of the surrounding material world. The organs of speech are paramount in Not I : the lips, the teeth, the vibrating folds of the throat, saliva, tongue, and all the contortions, as the mouth of that play puts it, without which no speech would be possible ( CSP, 219). The hollow internal spaces of Nancy’s resonant subject 1 are realized by the opening of the mouth, which “can resume and revive resonance.”2 The organs of speech—lips, teeth, tongue, and vocal folds—are tacky: red, wet, erotic, in contrast to the invisible and impalpable sonorous vibrations it produces. These vibrations, as Adriana Cavarero puts it, are “as colourless as the air, com[ing] out of a wet mouth and aris[ing] from the red of the flesh.3
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Notes
Jean-Luc Nancy, Listening, trans. Charlotte Mandell (New York: Fordham University Press, 2007 ), 21–22.
Adriana Cavarero, For More than One Voice: Toward a Philosophy of Vocal Expression, trans. Paul A. Kottman (CA: Stanford University Press, 2001 ), 4.
Roland Barthes (in collaboration with Roland Havas), “Ascolto,” in Enciclopedia Einaudi (Turin: Einaudi, 1977), 1: 237. Quoted in ibid., 15.
Maurice Merleau-Ponty, Phenomenology of Perception, trans. Colin Smyth (London: Routledge, 2002 ), 181.
Anna McMullan, Performing Embodiment in Samuel Beckett’s Drama ( New York: Routledge, 2010 ), 112.
MaryBryden, Women in Beckett’s Prose and Drama: Her Own Other ( Basingstoke: Macmillan, 1993 ), 124.
Kathy Smith suggests, with reference to Elaine Scarry’s work on the body under torture, that Not I demonstrates the transformation of body into voice, which is also a translation by power, in the torture chamber, of language into a scream and confession (“The Body in Pain: Beckett, Orlan and the Politics of Performance,” Studies in Theater and Performance 25 [ 2005 ]: 42). See also Elaine Scarry, The Body in Pain (NY, Oxford: Oxford University Press, 1985 ), 46.
Maurice Merleau-Ponty, The Visible and the Invisible, trans. Alphonso Lingus (Illinois: Northwestern University Press, 1969 ), 138.
Gordon Armstrong, Samuel Beckett, W.B. Yeats, and Jack Yeats: Images and Words ( Lewisburg, PA: Bucknell University Press, 1990 ), 67.
Judith Butler, Bodies that Matter: On the Discursive Limits of Sex ( New York and London: Routledge, 1993 ), 69.
Ulrika Maude, “A Stirring beyond Coming and Going: Beckett and Tourette’s,” Journal of Beckett Studies 17 (2008), 162.
David Eagleman, Incognito: The Secret Life of the Brain ( UK: Canongate, 2012 ), 163.
Howard Kushner and Kate Brown, “Eruptive Voices: Coprolalia, Malediction, and the Poetics of Cursing,” New Literary History 35 (2001): 543.
Mladen Dolar, “The Object Voice,” in Gaze and Voice as Love Objects, ed. Renata Salecl and Slovoj Žiž ek (Durham and London: Duke University Press, 1996 ), 13.
Kathleen O’Gorman, “‘but this other awful thought’: Aspects of the Female in Beckett’s Not I,” Journal of Beckett Studies 1 (1992): 36.
Elizabeth Grosz, Volatile Bodies ( Bloomington: Indiana University Press, 1994 ), 203.
Marina Warner, “Who Can Shave an Egg?: Foreign Tongues and Primal Sounds in Mallarmé and Beckett,” in Reflections on Beckett: A Centenary Celebration, ed. Anna McMullan and S. E. Wilmer ( Ann Arbor: University of Michigan Press, 2009 ), 60.
Samuel Beckett, Waiting for Godot (London: Faber, 1965 ), 17.
Johanna Oksala, “Female Freedom: Can the Lived Body be Emancipated?” Feminist Interpretations of Merleau-Ponty, ed. Dorothea Olkowski and Gail Weiss ( Pennsylvania: Pennsylvania State University Press, 2006 ), 224.
Hanna Scolnicov, Women’s Theatrical Space ( Cambridge: Cambridge University Press, 1994 ), 149.
Elin Diamond, Unmaking Mimesis: Essays on Feminism and Theater (USA and UK: Routledge, 1997), iii.
Alois Riegl, Late Roman Art Industry, trans. Rolf Winkes (Rome: G. Bretschneider, 1985 ), 58–59.
Laura Marks, The Skin of the Film ( Durham: Duke University Press, 2000 ), 136–143.
Anna McMullan, Theatre on Trial: Samuel Beckett’s Later Drama ( London: Routledge, 1993 ), 47.
Jacques Aumont, The Image, trans. Claire Pajackowska (London: British Film Institute, 1997 ), 189.
Jose Ortegay Gasset, “Meditations on the Frame,” Perspecta 26 (1990): 189.
Mariko Hori Tanaka, “Elements of Haiku in Beckett and Eisenstein,” SBTA 11 (2000): 325–326.
James A. W. Heffernan, Museum of Words: The Poetics of Ekphrasis from Homer to Ashbury ( Chicago: University of Chicago Press, 1993 ), 3–4.
Murray Krieger, Ekphrasis: The Illusion of the Natural Sign ( Baltimore and London: Johns Hopkins University Press, 1992 ), 6.
John Keats, Selected Poems ( UK: Penguin Classics, 2007 ), 191.
Stephen Cheeke, Writing for Art: The Aesthetics of Ekphrasis ( Manchester and New York: Manchester University Press, 2008 ), 35–36.
Lois Oppenheim, ed., The Painted Word ( Ann Arbor: University of Michigan Press, 2000 ), 142.
Walter Asmus, “Practical Aspects of Theater, Radio and Television: Rehearsal Notes for the German Premiere of Beckett’s ‘That Time’ and ‘Footfalls’ at the Schiller-Theater Werkstatt, Berlin (Directed by Beckett),” trans. Helen Wantabe, Journal of Beckett Studies 2 (1977): 94.
Samuel Beckett, Endgame (London: Faber & Faber, 1982 [1958]), 11.
Jean-Luc Nancy, Corpus, trans. Richard A. Rand ( New York: Fordham University Press, 2008 ), 17.
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© 2013 Trish McTighe
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McTighe, T. (2013). Mouth: Trying to Tell It All, Failing. In: The Haptic Aesthetic in Samuel Beckett’s Drama. New Interpretations of Beckett in the Twenty-First Century. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137275332_4
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