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- W78850806 abstract "In fall 1995, it was quite by chance that I met Michel Polac, who is perhaps best known in France as a famous radio and television producer, but who is also a writer, filmmaker, and literary critic of some renown. Among his avant-garde credentials, what is likely to matter most to readers of Samuel Beckett Today/Aujourd'hui is not so much his selling books for J6r6me Lindon at a time ? 1948-49 ? when the Editions de Minuit (including its bookstore) was still located at the intersection of boulevards St. Germain and St. Michel, as his being the first, at twenty-one, to launch En attendant Godot into the world, or at least into the Paris of 1952. As only the barest reference has been made to this event coming almost a year before the opening of the play at the Theatre de Babylone, I met the producer several times in Paris to talk about his February 1952 Godot broadcast.1 I also listened to a tape of the program at the INA phonoth&que located in the Maison de Radio France opposite the Isle of Swans. Polac recalls that it was the publication of Molloy and Malone meurt in 1951 that first brought Beckett to his attention. That same year the poet and playwright Jean Tardieu, who in 1946 had taken on the direction of the experimental Club d'Essai service of Radiodiffusion Franchise, accepted the young Polac's proposal for a program introducing authors on the air who had received public grants for their first plays. These were heady years, Polac recalls, and hopes ran high that a new era of cultural politics would counter the academic conservatism of the past. Jean Vilar's ThSStre National Populaire exemplified this cultural climate as did the Arts et Lettres committee established to provide grants for the production of first plays. Jeanne Laurent, the director of the Arts et Lettres in the equivalent of the present culture ministry, provided Polac with the committee's award winning manuscripts. From this cache of plays he would select perhaps one out of twenty to present on the bimonthly program that he had fittingly dubbed Entree des auteurs, a witty play on entree des artistes, a door reserved for performing artists, and on making an entrance. Polac had the good sense, particularly impressive considering the number of theatres that had turned it down, to be bowled over by Godot when he first ran across it among the manuscripts sent by Laurent." @default.
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- W78850806 date "1998-12-08" @default.
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- W78850806 title "EN ATTENDANT GODOT ON MICHEL POLAC'S ENTREE DES AUTEURS" @default.
- W78850806 doi "https://doi.org/10.1163/18757405-90000084" @default.
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