Samuel Beckett's Waiting for Godot: A Reference Guide
Greenwood Publishing Group, 2005 - 167 strán (strany)
No modern play in the western dramatic tradition has provoked as much controversy or generated as much diversity of opinion as Samuel Beckett's Waiting for Godot. Since its initial production in 1953, it has revolutionized the stage throuugh its ostensibly plotless form. It continues to be performed and is widely studied by high school students, undergraduates, and scholars. This guide conveniently introduces the play and synthesizes the vast body of critical reactions to it. The initial chapters summarize the play and discuss its origins and editions. The guide then looks at the cultural, historical, and intellectual contexts surrounding Beckett's work. It then analyzes Beckett's dramatic art and gives full coverage of the play's performance history. A concluding bibliographical essay surveys the growing body of scholarship on this important work.
Čo hovoria ostatní - Napísať recenziu
Na obvyklých miestach sme nenašli žiadne recenzie.
Iné vydania - Zobraziť všetky
absence absurd action actors Alan American appeared approaches arrival asks audience Beckett's play beginning cast changes chapter characters Christian claims comedy comic consider contends continue critical defined described designed directed director discussion Drama edition effect emphasized English essays existence existential fact final French Grove Press human interpretation issues John later leave less literary lives London Lucky Lucky's meaning nature never notes offers opening original particularly performance perhaps philosophical physical play play's Pozzo presented Press production of Waiting provides published question readers reading reason recorded reference remains remarks response Samuel Beckett San Quentin says seems silence specifically stage suggests term Theatre thought tion traditional tree University University Press Vladimir and Estragon Waiting for Godot writings York
Strana 49 - ... and before him shall be gathered all nations: and he shall separate them one from another, as a shepherd divideth his sheep from the goats. And he shall set the sheep on his right hand, but the goats on the left. Then shall the King say unto them on his right hand, Come, ye blessed of my Father, inherit the kingdom prepared for you from the foundation of the world.
Strana 50 - And it came to pass, that, while they communed together and reasoned, Jesus himself drew near, and went with them. But their eyes were holden that they should not know him.
Strana 46 - Tis but an hour ago since it was nine, And after one hour more 'twill be eleven ; And so, from hour to hour, we ripe and ripe, And then, from hour to hour, we rot and rot ; And thereby hangs a tale.
Strana 53 - The Lord God hath given me the tongue of the learned, that I should know how to speak a word in season to him that is weary: he wakeneth morning by morning, he wakeneth mine ear to hear as the learned.
Strana 50 - But they constrained him, saying, Abide with us: for it is toward evening, and the day is far spent.
Strana 53 - How can one better magnify the Almighty than by sniggering with him at his little jokes, particularly the poorer ones?
Strana 63 - Yesterday is not a milestone that has been passed, but a daystone on the beaten track of the years, and irremediably part of us, within us, heavy and dangerous. We are not merely more weary because of yesterday, we are other, no longer what...
Strana 60 - Go on! Strike me! But what is it for? What have I done to Thee? What is it for?' Then he grew quiet and not only ceased weeping but even held his breath and became all attention. It was as though he were listening not to an audible voice but to the voice of his soul, to the current of thoughts arising within him. 'What is it you want?
Strana 73 - ... the Theatre of the Absurd strives to express its sense of the senselessness of the human condition and the inadequacy of the rational approach by the open abandonment of rational devices and discursive thought.
Strana 63 - There is no escape from the hours and the days. Neither from tomorrow, nor from yesterday because yesterday has deformed us or been deformed by us.