Peculiarities of Samuel Beckett’s Playwriting in ''Footfalls'' and ''Endgame'' Plays
Journal Title: Вісник Житомирського державного університету імені Івана Франка - Year 2017, Vol 86, Issue 2
Abstract
The article offers a short review of a few examples of peculiarities in Samuel Beckett’s ''Footfalls'' and ''Endgame'' plays. The article defines some dramatic principles of the theatre of the absurd and reveals a mechanism of the plays’ structures through their phonetic many-faceted nature as a project about human positioning in the Universe. Particularly there is an attempt to study certain beckettian peculiarities contextually and intertextually to test their implication in European theatre of the 2nd half of the 20tth century. Beckettian drama experiment revisits and reconsiders a place of man from the point of view of existential concepts and life-affirming philosophy. Lawrence Shainberg's 'Exorcising Beckett' turns out to be a valid record about intertextual preferences and dogmatic restraints, in particular San Quentin Theatre Workshop of 1981. The performance in question defined importance of technical musical assistance of the stage action. An abstract thearte is in constant need of perfect linguistic and compositional structure, hence beckettian drama is always fixed on sounds which do not accompany but harmonize plot submitting it perspectives and dimensions on the broken reality. Simultaneously Beckett aspires for stylization of dialogue patterns via deliberately precise and concise speech (with even articles observed and preserved) in order to underline a theatrical nature of the action. A paradox of the performed action on stage via theatrical conventions is truly beckettian because according to the authorial conception the actors had to perform play as a part of their own fates, as the only possible reality whereas textual versatility and layering is plurality of realty. Linguistic compression is built by means of grouping phrases into syntactic clusters separated by pauses. This feature of ordering text into even proportions creates dramatic metre in ''Footfalls'' and ''Endgame'', whereas subordination between segments is accomplished by the very rhythm of plays. Such technically flawless declamation turns every movement into sound, a special paradoxical feature of beckettian scenic punctuation. Beckett as a stage director tends to reduction via concentrating on an overwhelming sound which nature is transcendental to catch elusive yet ever-present reality.
Authors and Affiliations
O. V. Koliada
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