Word: beckettã
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...these are the foundations of Shields’ manifesto, has all of this not been said before? Can Shields be given credit for tracking the development of a “new” art form that, considering the work of artists as diverse as Virginia Woolf and Samuel Beckett??both of whom Shields references extensively throughout his book—can be said to have developed along with the rise of modernity...
...draw a parallel between Dante’s experiences in the afterlife with the sometimes-agonizing human experience of life on Earth. Beyond that obvious reference, “Beatrice and Virgil” is full of literary allusions. Martel borrows heavily from the mood of manic stasis in Beckett??s “Waiting for Godot,” and as Henry himself notes, his “flip-book” would have two doors, “but no exit.” This conceit is reminiscent of the hellish, locked claustrophobia of Sartre?...
...Gatz” tears “Gatsby” out of the Jazz Age and situates its characters in a dreary office that could easily serve as the set of Samuel Beckett??s bleak “Endgame.” Yet these surroundings emphasize the mainstay of Fitzgerald’s work. As the play progresses, and the narrator comes to realize the careless arrogance that defines Daisy, Tom, and Jordan, the backdrop remains a stark foreshadowing of what lies beneath the lavish glamour of these characters. Stripped of their displays of wealth, the three characters...
...play’s producers, in an email. Around the time Pinter was writing the screenplay for “The Birthday Party,” other playwrights who were proponents of absurdist theatre—such as Eugene Ionesco and Samuel Beckett??were also exploring theater’s possibilities by rejecting conventions such as sequential time patterns and logical dialogue. “The Birthday Party” is part of a movement in the history of theatre which embraces the absurd, and in turn, seeks to unsettle the audience by disorienting them with a menacing...
...Nothing is funnier than unhappiness,” trash can-dwelling Nell says in the American Repertory Theatre’s current production of Samuel Beckett??s “Endgame.” Indeed, the bleak world and hopeless characters become darkly, sadly funny and wholly human in the hands of a capable team of actors and designers headed by director Marcus Stern. The phenomenal acting, skillful directing, and stunning creative vision of the play—which runs through March 15 at the Loeb Drama Center—produce a near-perfect experience of Beckett?...