Samuel Beckett's EndgameMark S. Byron Rodopi, 2007 - 289 pagini This collection of essays - the first volume in the Dialogue series - brings together new and experienced scholars to present innovative critical approaches to Samuel Beckett's play Endgame. These essays broach a broad range of topics, many of which are inherently controversial and have generated significant levels of debate in the past. Critical readings of the play in relation to music, metaphysics, intertextuality, and time are counterpointed by essays that consider the nature of performance, the history of the theater and the music hall, Beckett's attitudes to directing his play, and his responses to other directors. This collection will be of special interest to Beckett scholars, to students of literature and drama, and to drama theorists and practitioners. |
Cuprins
| 1 | |
| 23 | |
| 49 | |
Paul Ricoeur and Watching Endgame | 95 |
Bare interiors chicken wire cages and subway | 121 |
Transcultural Endgames | 145 |
Masking and the Social Construct of the Body | 165 |
Beckett Deleuze and | 189 |
But Why Shakespeare? The Muted Role | 207 |
A Theatrical Reading | 227 |
Endgame and Performance | 253 |
Essay Abstracts | 275 |
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Termeni și expresii frecvente
action actors Adorno aesthetic Akalaitis Alan Schneider American Repertory Theater audience Beckett's Endgame Beckett's plays Boulter Brustein Cambridge characters Clov's comedy comic Connor critics culture Deleuze Deleuze's dialogue Dickens director drama essay Estragon existence experience Faber Fehsenfeld fictional Fin de Partie Final de partida gestures Gontarski Hamm and Clov Hamm's hammer human idea interpretation kind Knowlson Krapp's Last Tape Lake Como language London loss McMillan meaning melancholia melancholic memory metatheatrical mimesis mourning Nagg Nagg's narration narrative Nell's never Ohio Impromptu paradoxical past Pause performance play's present production of Endgame reading reference relationship response revealing Ricoeur Roger Blin role Rosset Ruby Cohn Samuel Beckett sense sexual Shakespeare silence situation sound spectator speech St Augustine story structure stuttering suggests temporal theatrical toy dog traditional tragic translated trauma University Press Vladimir voice Waiting for Godot watcher words yesterday York
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Pagina 53 - The expression that there is nothing to express, nothing with which to express, nothing from which to express, no power to express, no desire to express, together with the obligation to express.
Pagina 61 - ... when suddenly I saw the whole thing. The vision, at last. This I fancy is what I have chiefly to record this evening, against the day when my work will be done...
Pagina 241 - I'll leave you. HAMM: No! CLOV: What is there to keep me here? HAMM: The dialogue. (Pause.) I've got on with my story. (Pause.) I've got on with it well. (Pause. Irritably.) Ask me where I've got to. CLOV: Oh, by the way, your story? HAMM (surprised): What story? CLOV: The one you've been telling yourself all your days.
Pagina 245 - In writing this play I have not used some of the techniques of the music hall in order to exploit an effective trick, but because I believe that these can solve some of the eternal problems of time and space that face the dramatist, and, also, it has been relevant to the story and setting. Not only has this technique its own traditions, its own convention and symbol, its own mystique, it cuts right across the restrictions of the so-called naturalistic stage. Its contact is immediate, vital and direct.
Pagina 211 - Yes, I hope I'll live till then, to hear you calling me like when you were a tiny boy, and were frightened, in the dark, and I was your only hope.
Pagina 196 - There I'll be, in the old shelter, alone against the silence and . . . (he hesitates) ... the stillness. If I can hold my peace, and sit quiet, it will be all over with sound, and motion, all over and done with.
Pagina 63 - I used to go and see him in the asylum. I'd take him by the hand and drag him to the window. Look! There! All that rising corn! And there! Look! The sails of the herring fleet! All that loveliness!
Pagina 52 - What I am saying does not mean that there will henceforth be no form in art. It only means that there will be new form, and that this form will be of such a type that it admits the chaos and does not try to say that the chaos is really something else. The form and the chaos remain separate.
Pagina 57 - HAMM Yesterday! What does that mean? Yesterday! CLOV [violently] That means that bloody awful day, long ago, before this bloody awful day. I use the words you taught me. If they don't mean anything any more, teach me others. Or let me be silent.
Pagina 73 - Then I went back into the house and wrote, It is midnight. The rain is beating on the windows. It was not midnight. It was not raining.