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It’s probably fair to say that the vast majority of people, except for the keenest of literary scholars, don’t know much about Samuel Beckett, the man. Irish playwright, novelist, poet, theatre director, translator, winner of the 1969 Nobel Prize in literature, mastermind behind absurdist plays including Waiting For Godot, Endgame and Krapp’s Last Tape, sure – but not so much the man himself. While there’s a common argument that it’s beneficial, or even encouraged, to separate the art from the artist, the themes explored in Beckett’s plays, and the way in which the dramas are executed, certainly came from somewhere.