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1、Samuel BeckettWaiting for Godot,Samuel Beckett(1906-1989),Samuel Beckett was an Irish writer,dramatist and poet,writing in English and French.He was born near Dublin,Ireland,on April 13,1906 into a Protestant,middle class home.His father was a quantity surveyor and his mother worked as a nurse.He at

2、tended the Portora Royal boarding school in Northern Ireland,then entered Trinity College,to study French and Italian from 1923 to 1927.In 1929,Beckett published his first work,a critical essay.The essay defends Joyces work and method,chiefly from allegations of wanton obscurity and dimness.,Beckett

3、s work offers a bleak outlook on human culture and he became increasingly a minimalist in his later career.As a student,assistant,and friend of James Joyce,Beckett is considered one of the last modernists;as an inspiration to many later writers,he is sometimes considered one of the first postmoderni

4、sts.,He is also considered one of the key writers in what Martin Esslin called Theatre of the Absurd.As such,he is widely regarded as one of the most influential writers of the 20th century.Beckett was awarded the Nobel Prize in Literature in 1969 for his writing,whichin new forms for the novel and

5、dramain the destitution of modern man acquires its elevation.,Samuel Becketts graveMontparnasse Cemetery,Samuel Beckett depicted on an Irish commemorative coin celebrating the 100th Anniversary of his birth.,On 10 December 2009,the newest bridge across the River Liffey in Dublin was opened and named

6、 the Samuel Beckett Bridge in his honour.,Works,Becketts most famous contributions to modern theater include Waiting for Godot(1952),Endgame,(1957),and Happy Days(1961).These dark comedies revolve around individuals who are trapped in predictable yet disturbing situations.Solitude,paralysis,and absu

7、rdity were some of Becketts greatest obsessions,and his novels in French address these themes with a combination of grotesque humor and hauntingly lyrical prose.,Writing career,his early works,up until the end of World War II in 1945,his middle period,stretching from 1945 until the early 1960s,durin

8、g which he wrote what are probably his best-known works,his late period,from the early 1960s until Becketts death in 1989,during which his works tended to become shorter,TheatreEleutheria(1940s;published 1995)Waiting for Godot(1952)Act Without Words I(1956)Act Without Words II(1956)Endgame(1957)Krap

9、ps Last Tape(1958)Rough for Theatre I(late 1950s)Rough for Theatre II(late 1950s)Happy Days(1960)Play(1963)Come and Go(1965)Breath(1969)Not I(1972)That Time(1975)Footfalls(1975)A Piece of Monologue(1980)Rockaby(1981)Ohio Impromptu(1981)Catastrophe(1982)What Where(1983),RadioAll That Fall(1956)From a

10、n Abandoned Work(1957)Embers(1959)Rough for Radio I(1961)Rough for Radio II(1961)Words and Music(1961)Cascando(1962)TelevisionEh Joe(1965)Ghost Trio(1975).but the clouds.(1976)Quad I+II(1981)Nacht und Trume(1982)Beckett on Film(2002)Hosted by Jeremy Irons,Produced by PBS CinemaFilm(1965),Dramatic wo

11、rks,ProseNovelsDream of Fair to Middling Women(1932;published 1992)Murphy(1938)Watt(1945;published 1953)Mercier and Camier(1946;published 1974)Molloy(1951)Malone Dies(1951)The Unnamable(1953)How It Is(1961)NovellasThe Expelled(1946)The Calmative(1946)The End(1946)The Lost Ones(1971)Company(1980)Ill

12、Seen Ill Said(1981)Worstward Ho(1983),StoriesMore Pricks Than Kicks(1934)First Love(1945)Stories and Texts for Nothing(1954)Fizzles(1976)Stirrings Still(1988)Non-fictionProust(1931)Three Dialogues(with Georges Duthuit and Jacques Putnam)(1949)Disjecta(1929-1967),PoetryWhoroscope(1930)Echos Bones and

13、 other Precipitates(1935)Collected Poems in English(1961)Collected Poems in English and French(1977)What is the Word(1989),Waiting for Godota tragicomedy in two acts,1st English edition translated by the author,1952 written in French,and published.1953 premiered at the Babylone theater in Paris.The

14、plays reputation spread slowly through word of mouth and it soon became quite famous.Other productions around the world rapidly followed.The play initially failed in the United States,likely as a result of being misbilled as the laugh of four continents.A subsequent production in New York City was m

15、ore carefully advertised and gained some success.1954 the English translation appeared.,The play has often been viewed as fundamentally existentialist in its take on life.The fact that none of the characters retain a clear mental history means that they are constantly struggling to prove their exist

16、ence.Waiting for Godot is part of the Theater of the Absurd.This implies that it is meant to be irrational.Absurd theater does away with the concepts of drama,chronological plot,logical language,themes,and recognizable settings.There is also a split between the intellect and the body within the work

17、.Thus Vladimir represents the intellect and Estragon the body,both of whom cannot exist without the other.,Character list,Estragon(Gogo)Estragon is one of the two protagonists.He is a bum and sleeps in a ditch where he is beaten each night.He has no memory beyond what is immediately said to him,and

18、relies on Vladimir to remember for him.Estragon is impatient and constantly wants to leave Vladimir,but is restrained from leaving by the fact that he needs Vladimir.It is Estragons idea for the bums to pass their time by hanging themselves.Estragon has been compared to a body without an intellect,w

19、hich therefore needs Vladimir to provide the intellect.,Vladimir(Didi)Vladimir is one of the two protagonists.He is a bum like Estragon,but retains a memory of most events.However,he is often unsure whether his memory is playing tricks on him.Vladimir is friends with Estragon because Estragon provid

20、es him with the chance to remember past events.Vladimir is the one who makes Estragon wait with him for Mr.Godots imminent arrival throughout the play.Vladimir has been compared to the intellect which provides for the body,represented by Estragon.,Didi and Gogo are a pair which complement each other

21、.A pair who need each other,yet stifle each other s growth.They are miserable much of the time together,yet neither seems big enough to part from the other.They are possibly parts of a divided self.Gogo as the unconscious mind,Didi as the conscious mind.They can not separate once and for all.,PozzoP

22、ozzo is the master who rules over Lucky.He stops and talks to the two bums in order to have some company.In the second act Pozzo is blind and requires their help.He,like Estragon,cannot remember people he has met.His transformation between the acts may represent the passage of time.,LuckyLucky is th

23、e slave of Pozzo,the symbol of man-as-a-machine.He is tied to Pozzo via a rope around his neck and he carries Pozzos bags.Lucky is only allowed to speak twice during the entire play,but his long monologue is filled with incomplete ideas.He is silenced only by the other characters who fight with him

24、to take of his hat.Lucky appears as a mute in the second act.,Pozzo and Lucky are a pair which complement each other.Pozzo symbolizes the sadist;Lucky the masochist.Perhaps all slaves must become masochistic or else die in rebellion.Materialistic man rejects and suppresses his spiritual and cultural

25、 side.Pozzo needs Lucky,and even so,he is dying and withering.,BoyThe boy is a servant of Mr.Godot.He plays an identical role in both acts by coming to inform Vladimir and Estragon the Mr.Godot will not be able to make it that night,but will surely come the next day.The boy never remembers having me

26、t Vladimir and Estragon before.He has a brother who is mentioned but who never appears.,The Circular Structure,In a traditional play,the plots usually go on in a linear development.,an introduction of the characters and the exposition,a statement of the problem of the playAnd the relationship to its

27、 settings and characters,the dramatists world view,Climax;conclusion,In the plays of the Theater of the Absurd,the structure is often exactly the opposite.,InWaiting for Godot,the setting is the same,and the time is the same in both acts.Each act begins early in the morning,just as the tramps are aw

28、akening,and both acts close with the moon having risen.The action takes place in exactly the same landscape a lonely,isolated road with one single tree.,We are never told where this road is located;all we know is that the action of the play unfolds on this lonely road.Thus,from Act I to Act II,there

29、 is no difference in either the setting or in the time and,thus,instead of a progression of time within an identifiable setting,we have a repetition in the second act of the same things that we saw and heard in the first act.,More important than the repetition of setting and time,however,is the repe

30、tition of the actions.,Vladimir and Estragon AloneArrival of Pozzo and LuckyVladimir and Estragon AloneArrival of Boy MessengerVladimir and Estragon Alone,At the beginning of both acts,the first discussion concerns a beating that Estragon received just prior to their meeting.At the beginning of both

31、 acts,Estragon keeps asking Vladimir if they can leave,only to receive the response that they are waiting for Godot.In the endings of both acts,Vladimir and Estragon discuss the possibility of hanging themselves,and in both endings they decide to bring some good strong rope with them the next day so

32、 that they can indeed hang themselves.,The repetition of the final two lines from the previous act at the plays conclusion shows the continued importance of repetition and parallelism in Waiting for Godot.However,the characters have switched lines from the previous act,suggesting that ultimately,des

33、pite their differences,Vladimir and Estragon are really interchangeable after all.,With the arrival of Pozzo and Lucky in each act,we notice that even though their physical appearance has theoretically changed,outwardly they seem the same;they are still tied together on an endless journey to an unkn

34、own place to rendezvous with a nameless person.Likewise,the Boy Messenger,while theoretically different,brings the exact same message:Mr.Godot will not come today,but he will surely come tomorrow.,Finally,and most important,there are the larger concepts:first,the suffering of the tramps;second,their

35、 attempts,however futile,to pass time;third,their attempts to part,and,ultimately,their incessant waiting for Godot all these make the two acts clearly repetitive,circular in structure,and the fact that these repetitions are so obvious in the play is Becketts manner of breaking away from the traditi

36、onal play and of asserting the uniqueness of his own circular structure.,Becketts dramatic works dont reply to the traditional elements of drama.For Beckett,language is useless;he creates a mythical universe peopled by lonely creatures who struggle vainly to express the inexpressible.,Becketts attit

37、ude towards language,Becketts work is defined by the consciousness that words are incapable of expressing the inner self and by the simultaneous acceptance of the fact that language is intrinsic to the human situation and thus not a removable element.Beckett regards language as constitutive of the i

38、dentity of the self;it is on this conviction that his despair for the human condition and the power of his writing depend.,His attitude towards language is the paradoxical acceptance of self-refutation as the condition for any artistic practice;a recognition of the inherent inability of words to cor

39、respond to anything other than themselves together with the potentiality of expressing this very inability to express.,His choice of dramatic speech as the fundamental level of action,rather than its subordination to gestures,movements and setting,is therefore far more complicated than at first it s

40、eems to be.,Beckett feels that the domain of the writer-playwright is that of a form which creates meaning through its struggle to express meaning.He does not,therefore,resort to the formalistic demand for an art synonymous with form,but rather attempts to solve the problem of their relation by preserving the dialectic.,Thank You,