CliffsNotes on Beckett's Waiting for Godot, Endgame, & Other Plays

CliffsNotes on Beckett's Waiting for Godot, Endgame, & Other Plays

CliffsNotes on Beckett's Waiting for Godot, Endgame, & Other Plays

CliffsNotes on Beckett's Waiting for Godot, Endgame, & Other Plays

Synopsis

A true innovation for the stage, Waiting for Godot is one of the greatest successes of the Theater of the Absurd. Although the subject and play is bleak in appearance, a semblance of nobility emerges as the two characters maintain hope.

This volume also covers Endgame, All That Fall, Act Without Words I, and Krapp's Last Tape.

Excerpt

With the appearance of En Attendant Godot (Waiting for Godot) at the Théâtre de Babylone in Paris in 1953, the literary world was shocked by the appearance of a drama so different and yet so intriguing that it virtually created the term “Theater of the Absurd,” and the entire group of dramas which developed out of this type of theater is always associated with the name of Samuel Beckett. His contribution to this particular genre allows us to refer to him as the grand master, or father, of the genre. While other dramatists have also contributed significantly to this genre, Beckett remains its single, most towering figure.

This movement known as the Theater of the Absurd was not a consciously conceived movement, and it has never had any clear-cut philosophical doctrines, no organized attempt to win converts, and no meetings. Each of the main playwrights of the movement seems to have developed independently of each other. The playwrights most often associated with the movement are Samuel Beckett, Eugene Ionesco, Jean Genet, and Arthur Adamov. The early plays of Edward Albee and Harold Pinter fit into this classification, but these dramatists have also written plays that move far away from the Theater of the Absurd’s basic elements.

In viewing the plays that comprise this movement, we must forsake the theater of coherently developed situations, we must forsake characterizations that are rooted in the logic of motivation and reaction, we must sometimes forget settings that bear an intrinsic, realistic, or obvious relationship to the drama as a whole, we must forget the use of language as a tool of logical communication, and we must forget cause-and-effect relationships found in traditional . . .

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