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Scene from the Beckett on Film adaptation of Rockaby, starring Penelope Wilton
Rockaby is a short, one woman play by Samuel Beckett. It was written in 1980, in English, at the request of Daniel Labeille who produced it on behalf of Programs in the Arts, State University of New York, for a festival and symposium in commemoration of Beckett's 75th birthday. The play premiered on April 8, 1981 at the State University of New York at Buffalo, starring Billie Whitelaw and directed by Alan Schneider. A documentary film, Rockaby, by D. A. Pennebaker and Chris Hegedus records the rehearsal process and the first performance. This production went on to be performed at the Annex at La MaMa Experimental Theatre Club,[1] and, in December 1982, at the Cottesloe, Royal National Theatre, London.
Contents
1 Synopsis
1.1 Section 1
1.2 Section 2
1.3 Section 3
1.4 Section 4
2 Background
3 Related Texts
3.1 Krapp Last Tape
3.2 Murphy
3.3 Film
4 References
5 External links
//
Synopsis
A woman dressed in an evening gown, is sitting in a wooden rocking chair; no other props or scenery are called for. She sits totally still until the very end of the play. The chair apparently starts and stops ocking of its own accord, since her feet are visible on its footrest. The motion creates a ghostly atmosphere.2] The woman (W) is described in the notes as rematurely old. Unkempt grey hair. Huge eyes in white expressionless face.3] Beckett is equally specific when it comes to the gown: lack lacy high-necked Long sleeves. Jet sequins Incongruous headdress set with extravagant trimming to catch the light.3]
As she rocks she hears a ull, expressionless4] pre-recorded voice (V) her own recount details from her own life, and that of her dead mother, in the form of, what Eric Brater describes as, performance poem in the shape of a play.5]
he French title, Berceuse, means both ocking chair and ullaby, while the English Rockaby refers to a traditional lullaby in which a baby cradle falls from a treetop, thus bring together in one song the images of birth and death which are so often juxtaposed in Beckett.6] Both a traditional cradle and a rocking chair have rockers. T]he synchrony of the rocking motion and the dimeter verse line one back-and-forth per line plays against the recorded narrative.7] To achieve this effect Billie Whitelaw was encouraged by Beckett to think of it as a lullaby which she interpreted as oft, monotonous, no colour, soothing, rhythmic [a] drive toward death.8]
The play can be broken down into four sections. All begin with the childlike demand, ore (consider Oliver Twist request for more gruel). Billie Whitelaw pronounced it more like aw a pun o suggest a need for nourishment.9] or even a.[10]
Intermittently, she joins in three of the lines: ime she stopped, iving soul and ock her off[11] at which point the rocking stops and only starts again when she demands ore, each time a little softer than the time before. The fact that time play begins with this word indicates that this scene has been being played out for some time before this. At the end of the final section the woman fails to join in with the voice, the rocking ceases and the woman head slowly inclines; he has apparently died.11]
Section 1
he first section details W decision to stop going o and fro in the outside world in search of nother like herself[12] evocative of Molloy quest to find his mother. The voice speech is fragmented and simple reating an affinity between the language of the child and that of senescence and dying.13] This could also be a reason for the uge eyes.[14]
As with Not I, the voice speaks in the third person.
Section 2
The second section reprises and therefore emphases the decision taken in Section 1. It also marks the eginning of her next phase of activity sitting at her upstairs window, searching the windows opposite[15] to see another ne living soul like herself.[16]
ife is nothing more nor less than the act of perception or the state of being perceived, or, in the words of Bishop Berkeley which find echoes throughout Beckett work, sse est percipi17] (o be is to be perceived). She sees no one however and is seen by no one. oice has become the woman own Berkeleyan observer, without whose surveillance any claim to existence would be invalidated.18]
Section 3
In the third section the woman has lowered her standards again. She would be content now to simply see a raised blind as evidence of life. At the end of this section she realises it is ime she stopped19] even this activity.
drawn blind [is] and old custom signifying death20] and the last thing she does herself before sitting down in the old rocker is et down the blind21] before closing her own eye lids. This decision [is] first announced in part three by the lines ill...(and so on)