En mettant en scène Warten auf Godot en 1975 au Schiller Theater, Beckett déclare : « Je ne connaissais rien au théâtre quand j’ai écrit cette pièce. » Constat précieux : l’auteur parle au passé. Entre l’écriture et la mise en scène, un savoir a été acquis. Le défaut de savoir constaté concerne la dimension pratique du théâtre. C’est le théâtre tel qu’il se fait auquel Beckett s’est peu à peu confronté, jusqu’à assumer la mise en scène de ses propres pièces. Devenu praticien, l’auteur s’empare de se première œuvres, les reprend : dans cette reprise lui apparaissent les failles et les manques initiaux. Loin de relever d’une continuité ou d’une évidence, la mise en scène par l’auteur de son premier théâtre et les réécritures auxquelles elle donne lieu offrent un aperçu sur la façon dont l’intériorisation par Beckett de deux fonctions qui ont joué un rôle fondamental dans l’histoire du théâtre au XXe siècle soumet ses pièces à une dynamique de création seconde qui fait évoluer sa poétique initiale. Beckett ne considère pas l’œuvre écrite comme une partition dont il faudrait assumer l’exécution. Au contraire, au fil de sa pratique scénique, il les dramatise et les théâtralise, témoignant de l’évolution même de sa conception du théâtre. Il passe d’un « théâtre rêvé » à un « théâtre pratiqué ». Dans ce passage se dévoilent les méandres et les détours d’une écriture dramatique façonnée initialement dans un creuset romanesque, qui va progressivement acquérir une théâtralité plus marquée. La pratique soumet alors la poétique à une dynamique de reprise et d’ajustements dévoilant en définitive un « Beckett en mouvement », qui allie pratique scénique et poétique du drame pour fonder une poétique théâtrale complexe. / While staging Warten auf Godot in 1975 at the Schiller Theater, Beckett says : « I knew nothing about theater when I wrote this. » The use of the past tense points out the fact that between the writing process and the staging process, something has been learnt. What he did ignore is theater as an artistic practice, as a performance. He will discover it progressively during the 1950’s and the 1960’s and eventually will become the director of his own plays. Our work aims at showing how this shift from desk to stage will lead him to rewrite them, carrying on the creative process directly from the theatre, and, in return, how his very conception of directing is shaped by the singularity of these plays. Far from considering stage directing as a mere execution of the stage directions, Beckett dramatizes and theatricalises his works. Thus, his very conception of theater evolves from an abstract vision, drama as it appears in a literary form, to very a practical one, transforming the very theatricality at stake in his plays. Stage directing and theatre writing are then offering a constant interface, which leads to the emergence of what may be called a theatrical creation in which practical standpoint and literary creation are linked together.

Made available in DSpace on 2016-12-08T16:03:14Z (GMT). No. of bitstreams: 1 113146.pdf: 11298829 bytes, checksum: 5ae3f75a3d805415757ee25f63d63480 (MD5) Previous issue date: 2013-05-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta pesquisa parte do texto de autoria do escritor irlandês Samuel Beckett acerca da obra dos irmãos Abraham e Gerardus van Velde em meados do século XX. A análise de Beckett sobre esses artistas contém uma gama de conceitos e considerações críticas que fundamentam esta pesquisa teórica sobre pintura e de onde parte a reflexão em torno da representação e dos termos utilizados pelo autor de referência, sendo estes: fracasso, impedimento e desmoronamento. Estes permeiam toda a pesquisa e são pensados na pintura contemporânea com base em dois pintores, Jean Rustin e Margherita Manzelli, nos quais o corpo entendido aqui como corpo transgressor e inominável encontra correspondência nos personagens beckettianos. Esta abordagem é desdobrada pela interlocução com outros autores a fim de chegar-se ao termo Disability e os conceitos de contaminação e monstruoso como condição dentro da arte contemporânea, mais precisamente no teatro e na pintura, que desborda os termos informe, fracasso e impedimento suscitando um olhar ¿mais-além¿ sobre os conceitos elaborados pelo autor de referência.

La figura del gran ausente es una de las principales influencias de Esperando a Godot del irlandés Samuel Beckett en la obra El señor Galíndez del argentino Eduardo Pavlovsky. A través de un cotejo entre los grandes ausentes de ambas obras se puede delinear mejor cómo el teatro del absurdo europeo estaba preocupado especialmente por condiciones humanas abstractas, mientras el latinoamericano retrataba realidades inmediatas, especialmente, realidades políticas. Las características de la puesta en escena de El señor Galíndez en Lima en 2007, con la “peruanización” del gran ausente, revela que la reflexión sobre la realidad política desde el teatro peruano responde a una tendencia de las artes limeñas a la reflexión por el pasado conflicto interno, particularmente, después de la publicación del Informe de la Comisión de la Verdad y la Reconciliación.

Stories engage a form of virtual play. Though they incorporate language and abstractions, stories engage many of the same biological systems and produce many of the same anatomical responses as simpler games. Like peek-a-boo or tickle play, stories stage dangerous or unpleasant scenarios in a controlled setting. In this way, they help develop cognitive strategies to tolerate, manage, and even enjoy uncertainty. One means is by inspiring confidence in difficult situations by tactical self-distraction. Another is to reframe negative or uncertain situations as learning opportunities, that is, to ascribe meaning to them. While both strategies are useful, each has limitations. In William Shakespeare’s The Winter’s Tale, a king succumbs to the desire to make meaning where there is none, and nearly ruins himself in a self-composed tragedy. His friend restores his confidence and enables a happy ending—but only by deceiving him. This deception is benign, but the heroine of Samuel Richardson’s Clarissa is nearly ruined by her abductor’s confidence game. Her “happy ending” is made possible only by reframing her rape and death as redemptive transfiguration—which, as many of her readers suggest, is a dubious affair. The hero of Herman Melville’s The Confidence-Man spends the first half of the novel eliciting his companions’ confidence in order to swindle them, and the second half trying to inspire himself with the same confidence. The novel ends with an ominous impasse: one must trust, but one ought not to. For Samuel Beckett, this impasse is productive. In his middle novels, thought itself emerges from the interplay of spontaneous bouts of irrational confidence and distortive, after-the-fact impositions of spurious meaning. Stories create (illusory) identities, elicit (dubious) hopes, and reinforce (false) assumptions in order to help us cope with the agonies of anticipation and loss, and to transform misfortune, accident, and misery into reward, retribution, and meaning—that is, in a comedy of trauma.

The play Waiting for Godot by Samuel Beckett has for a long time been considered one of his best works. Grasping the significance of key factors such as modernity, modernism and historical background is of great importance to situate and contextualise the play. As Beckett´s play belongs to the “Theatre of the Absurd”, the complicated aspects of where the play belongs has given opportunities for questioning. The intricate layers of the play have opened several doors for interpretation which has allowed diverse conclusions from various researchers. For that reason, further investigation on that matter may perhaps add another viewpoint which can be considered important to fully understand the potential of this piece. This essay examines Samuel Beckett´s famous play Waiting for Godot through the complex lens of Soren Aabaye Kierkegaard´s and Jean-Paul Sartre´s perspectives within the existentialist philosophy. Certain features of each perspectives within the philosophy such as the for-itself,in-itself and the three stages consciousness facilitate the linkage needed between the play and the theory. By using these two perspectives, this essay analyses how the elements of nothingness, purpose and meaning are apparent throughout the play. The analysis of the essay was done to: firstly, attempt to discover new possible meanings and secondly, to deepen and widen my understanding of the Beckett´s play. This essay argues that these elements provide evidence that the play contains components of both Sartre´s and Kierkegaard´s perspective of existentialism.

No description available.

No description available.

Fintan O'Toole states: "Plays survive not by being carefully preserved, not by being exhibited from time to time in theatrical museums, but by being tried and tested, taken apart and reassembled" (Game Without End).One of the great misconceptions and critiques of Samuel Beckett is of his presumed unrelenting control over his works. Artists, hoping to creatively collaborate with Beckett as they move his texts to performance, feel limited by his strict enforcement of that which he has written in his texts. Traditional relationships and functions allow directors to interpret an author's text. Not so with Beckett. Beckett demands that directors follow his authorial intentions as stated by his 'direct expression,' the indissoluble link between form (the text's physical nature) and content (the ideas expressed) within his texts. Beckett's control of his 'direct expression' is not a method of forcing meanings and interpretations upon his collaborators and his audience members. Rather, his purpose in protecting his 'direct expression' throughout the production process is to ensure the text's 'lack' of meaning and to preserve its ambiguities in performance. In this thesis I will analyze and argue that by preserving this 'direct expression' in Beckett's texts, the active relationships between author and reader (audience members) will be preserved throughout the production process and ultimately in the performance. Through this relationship, the viewer of the performance has the opportunity to become what Jacques Ranciere refers to as a more "active participant," composing their own poem with elements of the poem before them (Ranciere 13).

This paper suggests that a reconceptualization of the structuralist framework of story anddiscourse, the foundational concept of narrative theory, is needed in order to account for postmodernist texts. It reframes story and discourse as an “intra-textual” approach, wherein individual narrative strata are understood as equal and interrelated voices within a text, thus refusing to privilege any one aspect over another. In other words, I work to build a method of narrative analysis that interrogates form as it manifests across various levels of narrative, uncovering the patterns, connections, fissures and inconsistencies that emerge within and between the various levels in order to produce meaning. The paper then employs this method through a reading of Samuel Beckett’s postwar Trilogy that argues against traditional critical interpretations of the text, thus presenting a new possibility for historicizing Beckett at the midcentury mark.

No description available.