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Reassessing the notions of ?undoing? and ?vaguening? that dominate genetic studies of Beckett?s work in theatre, television and film, the present volume in the BDMP series analyses the writing process of his radio drama, to illustrate how he grappled with the unique affordances of the medium while exploiting its ephemerality. In addition to Beckett?s six canonical works for radio, written in French and English from 1956 to 1962 (All That Fall, Embers, Pochaderadiophonique, Words and Music, Esquisse radiophonique, Cascando), his first ever radio script (The Capital of the Ruins, 1946) and his adaptation of Robert Pinget?s radio play La Manivelle (The Old Tune, 1959) are also included, as well as two previously unknown works: ?All but I? (1973) and ?Hörendspiel? (1988). For every text a detailed chronology is established in relation to Beckett?s other output, and his role in the recording process is reconstructed on the basis of archival materials from the BBC and RTF broadcasting services. With more than fifty newly discovered drafts, this book offers the most comprehensive study of Beckett?s radio plays to date, including his self-translations and those that he made in collaboration with Pinget.00This volume is part of the Beckett Digital Manuscript Project (BDMP), a collaboration between the Centre for Manuscript Genetics (University of Antwerp), the Beckett International Foundation (University of Reading) and the Harry Ransom Humanities Research Center (University of Texas at Austin), with the support of the Estate of Samuel Beckett. The BDMP (www.beckettarchive.org) digitally reunites the dispersed manuscripts of Samuel Beckett?s works and facilitates their examination. The project consists of two parts:0a) a digital archive of Beckett?s a manuscripts, with facsimiles and transcriptions, organized in modules;0b) a series of print volumes, analyzing the genesis of Beckett?s works
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