Sara Keating: A towering performance turns theatre into a true work of art
Jesse Jones’s The Tower’s story of two female medieval mystics is reminiscent of Beckett’s leaning towards installation art in his plays
If Samuel Beckett’s late works were being produced today, they might perhaps sit more naturally in a gallery context than a theatre. The repetitive dramaturgy and physical emphasis of plays such as Footfalls and Not I would fit easily alongside a programme of durational performance art. Breath, which features no actors at all, has an installation-like quality and Damien Hirst, the original Young British Artist, even filmed his own version in 2001.
Beckett comes to ...