No-Thing Is Left to Tell: Zen/Chaos Theory in the Dramatic Art of Samuel Beckett


Zen Buddhism and the Chaos theory are used in this work as binocular lenses to examine the existential difficulties in Samuel Beckett's plays in terms that circumvent traditional Western schools of thought. No-Thing Is Left to Tell examines Waiting for Godot, Endgame, Happy Days, Footfalls, and Ohio Impromptu, discovering both within them and throughout the larger scale of Beckett's plays as a whole, a movement toward revisioning our world in terms of a nonclosed, unself-conscious state. Illustrated.


An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.