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Introduction – Pim Verhulst, Anna McMullan and Jonathan Bignell
1 Beckett’s ‘adaphatroce’ revisited: toward a poetics of adaptation – Pim Verhulst
2 Adaptation and convergence: Beckett on Film – Jonathan Bignell
3 ‘Imprecations from the Brighton Road to Foxrock Station’: the effect of place on Mouth on Fire’s stagings of All That Fall – Feargal Whelan
4 Engines of reverence? Beckett, festivals and adaptation – Trish McTighe and Kurt Taroff
5 Passing by, gazing upon: gendered agency in adaptations of Come and Go and Happy Days – Katherine Weiss
6 ‘Last state last version’: adaptation and performance in Gare St Lazare Ireland’s How It Is – Dúnlaith Bird
7 Intermedial embodiments: Company SJ’s staging of Beckett’s Company – Anna McMullan
8 Beckett, neurodiversity and the prosthetic: the posthuman turn in contemporary art – Derval Tubridy
9 Beckett and new media adaptation: from the literary corpus to the transmedia archive – David Houston Jones
10 Opera as adaptation: György Kurtág’s Samuel Beckett: Fin de partie, scènes et monologues – Olga Beloborodova
11 Questioning norms in three Beckettian choreographic projections: Maguy Marin, Dominique Dupuy, Joanna Czajkowska – Evelyne Clavier
12 ‘I’ll give you just enough to keep you from dying’: power dynamics disclosed in Tania Bruguera’s Endgame – Luz María Sánchez Cardona
13 Godot noir: Beckett in black and whiteface – S. E. Gontarski
14 Deferred dreams: waiting for freedom and equality in Nwandu and Beckett – Graley Herren
15 ‘How can you photograph words?’: expanding the Godot universe from adaptation to transmedia storytelling – Luciana Tamas and Eckart Voigts
16 The figure of Beckett in four contemporary novels– Paul Stewart
Index