https://orcid.org/0000-0002-2897-2835
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Notes
1. Samuel Beckett, Worstward Ho (London: John Calder, 1983), 7. All unattributed quotations in italics in this article are from the same text.
2. Marcia Farquhar, ‘And I, a film by Reynir Hutber with Marcia Farquhar, 2015’, October 2018, https://www.marciafarquhar.com/and-i-marcia-farquhar-and-reynir-hutbereight-hour-single-channel-video-2015/ (accessed July 14, 2023).
3. Deirdre Heddon, ‘Marcia Farquhar: Divergent Auto/Biographies and Lines of Hope’, in Live Art in the UK: Contemporary Performances of Precarity, ed. Maria Chatzichristodoulou (London: Methuen Drama, 2020), 68–88 (74–75).
4. Jukeboxing, Live Art Development Agency DIY workshop, Folkstone, September 5–6, 2015, https://www.thisisliveart.co.uk/opportunities/diy-12–2015-marcia-farquhar-jukeboxing/ (accessed July 14, 2023).
5. Heddon, ‘Marcia Farquhar’, 69.
6. I was given access to the film in this way in order to write a catalogue essay to be distributed at its premiere at Usurp Art Gallery, Harrow, on 5 December 2015. This essay was published on a website for And I that no longer exists.
7. Stephen Bann, ‘Incompetents’, London Review of Books 5, no. 11 (June 16, 1983): 17–18.
8. Marcia Farquhar’s 12 Shooters, ed. J. Maizlish (London: Live Art Development Agency, 2009), 192.
9. Herbert Blau, Sails of the Herring Fleet: Essays on Beckett (Ann Arbor: University of Michigan Press, 2004), 158.
10. I was going through perimenopause.
11. Mark Harris, ‘Chelsea Hotel, March 14, 2008’, in Maizlish Marcia Farquhar’s 12 Shooters, 106.
12. Ibid., 110.
13. Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again) (Orlando: Harcourt, 1975), 5.
14. Irit Rogoff, ‘Gossip as testimony: a postmodern signature’, in Generations and Geographies in the Visual Arts: Feminist Readings, ed. Griselda Pollock (London: Routledge, 1996), 58–68 (58).
15. Geraldine Harris, ‘Marcia Farquhar, The Long Haul, Palo Alto, June 2013’, in The Live Art Almanac Volume 4, eds. Harriet Curtis, Lois Keidan and Aaron Wright (London: Live Art Development Agency & Oberon Books, 2016), 84.
16. Samuel Beckett, Complete Dramatic Works (London: Faber & Faber, 1990), 145.
17. Derval Tubridy, ‘Samuel Beckett and Performance Art’, Journal of Beckett Studies 23, no. 1 (2014): 34–53 (49-50).
18. Deirdre Bair, Samuel Beckett: A Biography (New York: Simon and Schuster, 1990), 622.
19. Harris, ‘Marcia Farquhar’, 85.
Additional information
Notes on contributors
Roberta Mock
Roberta Mock is Professor of Performance and Executive Dean of the School of Performing and Digital Arts at Royal Holloway, University of London. She is the co-editor of the Methuen Drama Handbook of Gender and Theatre (2024) and Joshua Sofaer: Performance, Objects, Participation (Intellect, 2020), and the author of Jewish Women on Stage, Film and Television (Palgrave Macmillan, 2007).