scholarly journals José Emilio Pacheco, traductor de Samuel Beckett. El caso de "Cómo es" (1966)

2021 ◽  
Vol 1 (52) ◽  
pp. 149-162
Author(s):  
José Francisco Fernández
Keyword(s):  
Samuel Beckett ◽  
Jose Emilio Pacheco

En la historia de la recepción de Samuel Beckett en los países de habla no inglesa, la primera traducción de Comment c’est (1961) al castellano, realizada por José Emilio Pacheco en 1966 (Cómo es), aparece como un hito aislado y deslumbrante. Esta traducción a partir del texto original en francés, hecha por el poeta mexicano cuando tenía 27 años, no tuvo una repercusión notable en su momento, a pesar de la audacia de la empresa y de la brillantez de la traducción. Sin embargo, a raíz de la trayectoria de Pacheco como crítico, traductor y poeta de primera magnitud, se considera necesario hacer una evaluación en profundidad de este texto único. El objetivo de este artículo es el de analizar la versión de Pacheco del texto beckettiano por medio de un acercamiento al contexto histórico y a los elementos propios de su bagaje cultural que el poeta aporta a la elaboración de su traducción. Se trata, en definitiva, de explicar cómo se lee a Beckett en español por medio de Pacheco.

Racine Lighting Beckett

2016 ◽  
Vol 25 (2) ◽  
pp. 225-242
Author(s):  
Cal Revely-Calder
Keyword(s):  
Samuel Beckett ◽  
Trinity College ◽  
Trinity College Dublin ◽  
The Trinity

Critics have recently begun to pay attention to the influence Jean Racine's plays had on the work of Samuel Beckett, noting his 1930–31 lectures at Trinity College Dublin, and echoes of Racine in early texts such as Murphy (1938). This essay suggests that as well as the Trinity lectures, Beckett's later re-reading of Racine (in 1956) can be seen as fundamentally influential on his drama. There are moments of direct allusion to Racine's work, as in Oh les beaux jours (1963), where the echoes are easily discernible; but I suggest that soon, in particular with Come and Go (1965), the characteristics of a distinctly Racinian stagecraft become more subtly apparent, in what Danièle de Ruyter has called ‘choix plus spécifiquement théâtraux’: pared-down lighting, carefully-crafted entries and exits, and visual tableaux made increasingly difficult to read. Through an account of Racine's dramaturgy, and the ways in which he structures bodily motion and theatrical talk, I suggest that Beckett's post-1956 drama can be better understood, as stage-spectacles, in the light of Racine's plays; both writers give us, in Myriam Jeantroux's phrase, the complicated spectacle of ‘un lieu à la fois désert et clôturé’. As spectators to Beckett's drama, by keeping Racine in mind we can come to understand better the limitations of that spectatorship, and how the later plays trouble our ability to see – and interpret – the figures that move before us.

Samuel Beckett and the Rule of Law

1993 ◽  
Vol 3 (1) ◽  
pp. 71-72
Author(s):  
Phil Baker
Keyword(s):  
Rule Of Law ◽  
Samuel Beckett ◽  
The Rule Of Law

‘Minister of Horses’: Samuel Beckett according to Fernando Arrabal

2015 ◽  
Vol 24 (2) ◽  
pp. 223-241
Author(s):  
José Francisco Fernández
Keyword(s):  
Samuel Beckett ◽  
Fernando Arrabal

This study takes the form of a chronicle of the life-long friendship between Samuel Beckett and Spanish playwright Fernando Arrabal. First, the circumstances in which they became acquainted will be explored. Then, that streak of irreverent humour shared by both writers will be discussed, especially in relation to their interest in Surrealism. Following this, the Spaniard's opinions on Beckett's partner, Suzanne Deschevaux-Dumesnil, will be considered. Finally, Arrabal's trial for blasphemy in 1967 is examined in detail, including Beckett's letter in his defence.

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