From the mid 1960s Samuel Beckett began to direct his own plays for theatre and for television. This is one of two notebooks that Beckett kept for his production of Glückliche Tage (Happy Days) at the Schiller Theater Werkstatt in Berlin, September 1971 – a venue he would return to for many other productions of his own work. Beckett prepared the notebook before rehearsals started.
As well as noting cuts and additions to the script, the notebook contains lists of actions, props, movements (accompanied by diagrams of Willie’s ‘crawl’) and notes on Winnie’s parasol and glasses. The level of detail here – not only in terms of the content of the notes, but also in Beckett’s indexing and cross-referencing system – reveals the incredibly precise, meticulous working method he applied to directing his own work. Beckett kept notebooks like this one for all of his productions. Together, they are invaluable for showing us Beckett’s dynamic, evolving vision for the staging of his work, as he directed from within the theatre space.
At the start of the notebook Beckett divides the two-act play into 12 main sections. The rest of the notebook is divided into 22 groupings around a particular aspect of the text or action. These 22 sections – with titles such as ‘Bag’, ‘Smile’, ‘Repetition Text’, ‘Quotation’ – show us ‘the points Beckett thought to be the foci of the production’.
On the page shown here, titled ‘BAG’, Beckett lists the 14 items in Winnie’s handbag, including a toothbrush, mirror and revolver, in order of their appearance in the play. He records their exact position on the mound (‘R’ [right] or ‘L’ [left] of Winnie), and the order in which Winnie returns them to the bag.
Although Happy Days is ‘not perhaps noted for the animation of [its] players’ – Winnie can only move her upper body, for half of the play – the notebook reveals Beckett’s ‘vigorous and highly specific guide to the physical actions of [the] play’. No element is accidental. As James Knowlson observes, notebooks like this ‘prove that [Beckett] was an excellent choreographer, with a talent for what he described as “form in movement”’.
Originally composed in English in 1960–61, Happy Days is a two-act play that centres on the character of Winnie, who is buried in a mound up to her waist in Act 1, and then up to her neck in Act 2. Winnie passes her time endlessly chattering away and retrieving objects from her handbag. A bell wakes her from sleep, although there is no night and day, only constant burning sunlight. Her husband, Willie, crawls around the mound, remaining largely silent.
 Mary Bryden, Julian Garforth and Peter Mills, Beckett at Reading: Catalogue of the Beckett Manuscript Collection at the University of Reading (Reading: Whiteknights Press and the Beckett International Foundation, 1998), p. 48.
 Bryden, Garforth and Mills, Beckett at Reading, p. 50.
 James Knowlson, ‘Beckett, Samuel Barclay’, Oxford Dictionary of National Biography <http://oxforddnb.com/view/article/40453?docPos=17> [Accessed August 2017].