Editing Samuel Beckett (section)

==Collaborators==

===Jack MacGowran===
[[Jack MacGowran]] was the first actor to perform a one-man show based on the works of Beckett. He debuted ''End of Day'' in Dublin in 1962, revising it as ''Beginning To End'' (1965). The show went through further revisions before Beckett directed it in Paris in 1970; MacGowran won the 1970–1971 [[Obie Award|Obie]] for Best Performance By an Actor when he performed the show off-Broadway as ''Jack MacGowran in the Works of Samuel Beckett.'' Beckett wrote the radio play ''[[Embers]]'' and the teleplay ''[[Eh Joe]]'' specifically for MacGowran. The actor also appeared in various productions of ''[[Waiting for Godot]]'' and ''[[Endgame (play)|Endgame]],'' and did several readings of Beckett's plays and poems on BBC Radio; he also recorded the LP ''MacGowran Speaking Beckett'' for [[Claddagh Records]] in 1966.<ref>{{Cite web|url=http://claddaghrecords.com/index.php/jack-macgowran-macgowran-speaking-beckett.html|title=Jack MacGowran – MacGowran Speaking Beckett|access-date=28 January 2016|archive-date=5 February 2016|archive-url=https://web.archive.org/web/20160205224749/http://claddaghrecords.com/index.php/jack-macgowran-macgowran-speaking-beckett.html|url-status=dead}}</ref><ref>{{cite web|url=http://bigcitybooks.com/page6.htm|title=Big City Books – First Editions, Rare, Fanzines, Music Memorabilia – contact|url-status=dead|archive-url=https://web.archive.org/web/20160124010607/http://bigcitybooks.com/page6.htm|archive-date=24 January 2016}}</ref>

===Billie Whitelaw===
[[Billie Whitelaw]] worked with Beckett for 25 years on such plays as ''[[Not I]]'', ''[[Eh Joe]]'', ''[[Footfalls]]'' and ''[[Rockaby]].'' She first met Beckett in 1963. In her autobiography ''Billie Whitelaw... Who He?,'' she describes their first meeting in 1963 as "trust at first sight". Beckett went on to write many of his experimental theatre works for her. She came to be regarded as his muse, the "supreme interpreter of his work", perhaps most famous for her role as the mouth in ''[[Not I]]''. She said of the play ''Rockaby'': "I put the tape in my head. And I sort of look in a particular way, but not at the audience. Sometimes as a director, Beckett comes out with absolute gems and I use them a lot in other areas. We were doing ''Happy Days'' and I just did not know where in the theatre to look during this particular section. And I asked, and he thought for a bit and then said, 'Inward' ".<ref>[http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/the_tls/article5423443.ece ''The Times Literary Supplement'' 31 December 2008 ''Princes and players''.] {{Webarchive|url=https://web.archive.org/web/20110615072950/http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/the_tls/article5423443.ece |date=15 June 2011 }}. Retrieved 31 March 2010</ref><ref>[http://www.albany.edu/writers-inst/webpages4/archives/whitelaw.html Whitelaw Biography – State University of New York.] {{Webarchive|url=https://web.archive.org/web/20201223005833/https://www.albany.edu/writers-inst/webpages4/archives/whitelaw.html |date=23 December 2020 }}. Retrieved 31 March 2010</ref><ref>[https://www.theguardian.com/media/2000/feb/10/mondaymediasection.classics Guardian article ''Muse'' 10 February 2000.] {{Webarchive|url=https://web.archive.org/web/20160306041708/http://www.theguardian.com/media/2000/feb/10/mondaymediasection.classics |date=6 March 2016 }}. Retrieved 31 March 2010</ref> She said of her role in ''Footfalls'': "I felt like a moving, musical [[Edvard Munch]] painting and, in fact, when Beckett was directing ''Footfalls'' he was not only using me to play the notes but I almost felt that he did have the paintbrush out and was painting."<ref>[https://www.theguardian.com/culture/1999/sep/01/artsfeatures2 Guardian article ''Plays for today'' 1 September 1999.] {{Webarchive|url=https://web.archive.org/web/20160305214223/http://www.theguardian.com/culture/1999/sep/01/artsfeatures2 |date=5 March 2016 }}. Retrieved 31 March 2010</ref> "Sam knew that I would turn myself inside out to give him what he wanted", she explained. "With all of Sam's work, the scream was there, my task was to try to get it out." She stopped performing his plays in 1989 when he died.<ref>[https://www.nytimes.com/books/97/08/03/reviews/whohe.html ''The New York Times'' article : ''An Immediate Bonding With Beckett: An Actress's Memoirs'' 24 April 1996.] {{Webarchive|url=https://web.archive.org/web/20160322013330/http://www.nytimes.com/books/97/08/03/reviews/whohe.html |date=22 March 2016 }}. Retrieved 31 March 2010</ref>

===Jocelyn Herbert===
The English stage designer [[Jocelyn Herbert]] was a close friend and influence on Beckett until his death. She worked with him on such plays as ''[[Happy Days (play)|Happy Days]]'' (their third project) and ''[[Krapp's Last Tape]]'' at the [[Royal Court Theatre]]. Beckett said that Herbert became his closest friend in England: "She has a great feeling for the work and is very sensitive and doesn't want to bang the nail on the head. Generally speaking, there is a tendency on the part of designers to overstate, and this has never been the case with Jocelyn."<ref>[https://www.theguardian.com/news/2003/may/08/guardianobituaries.artsobituaries1 ''Guardian'' article ''Jocelyn Herbert''. 8 May 2003.] {{Webarchive|url=https://web.archive.org/web/20160305040751/http://www.theguardian.com/news/2003/may/08/guardianobituaries.artsobituaries1 |date=5 March 2016 }}. Retrieved 31 March 2010</ref>

===Walter Asmus===
The German director [[Walter D. Asmus]] began his working relationship with Beckett in the Schiller Theatre in Berlin in 1974 and continued until 1989, the year of the playwright's death.<ref>The Jocelyn Herbert Lecture 2015: Walter Asmus – The Art of Beckett</ref> Asmus has directed all of Beckett's plays internationally.{{citation needed|date=August 2024}}