等待戈多 展示

.,SamuelBeckettWaitingforGodot,.,SamuelBeckett(1906-1989),SamuelBeckettwasanIrishwriter,dramatistandpoet,writinginEnglishandFrench.HewasbornnearDublin,Ireland,onApril13,1906intoaProtestant,middleclasshome.Hisfatherwasaquantitysurveyorandhismotherworkedasanurse.HeattendedthePortoraRoyalboardingschoolinNorthernIreland,thenenteredTrinityCollege,tostudyFrenchandItalianfrom1923to1927.In1929,Beckettpublishedhisfirstwork,acriticalessay.TheessaydefendsJoycesworkandmethod,chieflyfromallegationsofwantonobscurityanddimness.,.,Beckettsworkoffersableakoutlookonhumancultureandhebecameincreasinglyaminimalistinhislatercareer.Asastudent,assistant,andfriendofJamesJoyce,Beckettisconsideredoneofthelastmodernists;asaninspirationtomanylaterwriters,heissometimesconsideredoneofthefirstpostmodernists.,.,HeisalsoconsideredoneofthekeywritersinwhatMartinEsslincalledTheatreoftheAbsurd.Assuch,heiswidelyregardedasoneofthemostinfluentialwritersofthe20thcentury.BeckettwasawardedtheNobelPrizeinLiteraturein1969forhiswriting,whichinnewformsforthenovelanddramainthedestitutionofmodernmanacquiresitselevation.,.,SamuelBeckettsgraveMontparnasseCemetery,SamuelBeckettdepictedonanIrishcommemorativecoincelebratingthe100thAnniversaryofhisbirth.,.,On10December2009,thenewestbridgeacrosstheRiverLiffeyinDublinwasopenedandnamedtheSamuelBeckettBridgeinhishonour.,.,Works,BeckettsmostfamouscontributionstomoderntheaterincludeWaitingforGodot(1952),Endgame,(1957),andHappyDays(1961).Thesedarkcomediesrevolvearoundindividualswhoaretrappedinpredictableyetdisturbingsituations.Solitude,paralysis,andabsurdityweresomeofBeckettsgreatestobsessions,andhisnovelsinFrenchaddressthesethemeswithacombinationofgrotesquehumorandhauntinglylyricalprose.,Writingcareer,hisearlyworks,upuntiltheendofWorldWarIIin1945,hismiddleperiod,stretchingfrom1945untiltheearly1960s,duringwhichhewrotewhatareprobablyhisbest-knownworks,hislateperiod,fromtheearly1960suntilBeckettsdeathin1989,duringwhichhisworkstendedtobecomeshorter,.,TheatreEleutheria(1940s;published1995)WaitingforGodot(1952)ActWithoutWordsI(1956)ActWithoutWordsII(1956)Endgame(1957)KrappsLastTape(1958)RoughforTheatreI(late1950s)RoughforTheatreII(late1950s)HappyDays(1960)Play(1963)ComeandGo(1965)Breath(1969)NotI(1972)ThatTime(1975)Footfalls(1975)APieceofMonologue(1980)Rockaby(1981)OhioImpromptu(1981)Catastrophe(1982)WhatWhere(1983),RadioAllThatFall(1956)FromanAbandonedWork(1957)Embers(1959)RoughforRadioI(1961)RoughforRadioII(1961)WordsandMusic(1961)Cascando(1962)TelevisionEhJoe(1965)GhostTrio(1975).buttheclouds.(1976)QuadI+II(1981)NachtundTrume(1982)BeckettonFilm(2002)HostedbyJeremyIrons,ProducedbyPBSCinemaFilm(1965),Dramaticworks,.,ProseNovelsDreamofFairtoMiddlingWomen(1932;published1992)Murphy(1938)Watt(1945;published1953)MercierandCamier(1946;published1974)Molloy(1951)MaloneDies(1951)TheUnnamable(1953)HowItIs(1961)NovellasTheExpelled(1946)TheCalmative(1946)TheEnd(1946)TheLostOnes(1971)Company(1980)IllSeenIllSaid(1981)WorstwardHo(1983),StoriesMorePricksThanKicks(1934)FirstLove(1945)StoriesandTextsforNothing(1954)Fizzles(1976)StirringsStill(1988)Non-fictionProust(1931)ThreeDialogues(withGeorgesDuthuitandJacquesPutnam)(1949)Disjecta(1929-1967),PoetryWhoroscope(1930)EchosBonesandotherPrecipitates(1935)CollectedPoemsinEnglish(1961)CollectedPoemsinEnglishandFrench(1977)WhatistheWord(1989),.,WaitingforGodotatragicomedyintwoacts,1stEnglisheditiontranslatedbytheauthor,1952writteninFrench,andpublished.1953premieredattheBabylonetheaterinParis.Theplaysreputationspreadslowlythroughwordofmouthanditsoonbecamequitefamous.Otherproductionsaroundtheworldrapidlyfollowed.TheplayinitiallyfailedintheUnitedStates,likelyasaresultofbeingmisbilledasthelaughoffourcontinents.AsubsequentproductioninNewYorkCitywasmorecarefullyadvertisedandgainedsomesuccess.1954theEnglishtranslationappeared.,.,Theplayhasoftenbeenviewedasfundamentallyexistentialistinitstakeonlife.Thefactthatnoneofthecharactersretainaclearmentalhistorymeansthattheyareconstantlystrugglingtoprovetheirexistence.WaitingforGodotispartoftheTheateroftheAbsurd.Thisimpliesthatitismeanttobeirrational.Absurdtheaterdoesawaywiththeconceptsofdrama,chronologicalplot,logicallanguage,themes,andrecognizablesettings.Thereisalsoasplitbetweentheintellectandthebodywithinthework.ThusVladimirrepresentstheintellectandEstragonthebody,bothofwhomcannotexistwithouttheother.,.,Characterlist,Estragon(Gogo)Estragonisoneofthetwoprotagonists.Heisabumandsleepsinaditchwhereheisbeateneachnight.Hehasnomemorybeyondwhatisimmediatelysaidtohim,andreliesonVladimirtorememberforhim.EstragonisimpatientandconstantlywantstoleaveVladimir,butisrestrainedfromleavingbythefactthatheneedsVladimir.ItisEstragonsideaforthebumstopasstheirtimebyhangingthemselves.Estragonhasbeencomparedtoabodywithoutanintellect,whichthereforeneedsVladimirtoprovidetheintellect.,.,Vladimir(Didi)Vladimirisoneofthetwoprotagonists.HeisabumlikeEstragon,butretainsamemoryofmostevents.However,heisoftenunsurewhetherhismemoryisplayingtricksonhim.VladimirisfriendswithEstragonbecauseEstragonprovideshimwiththechancetorememberpastevents.VladimiristheonewhomakesEstragonwaitwithhimforMr.Godotsimminentarrivalthroughouttheplay.Vladimirhasbeencomparedtotheintellectwhichprovidesforthebody,representedbyEstragon.,.,DidiandGogoareapairwhichcomplementeachother.Apairwhoneedeachother,yetstifleeachothersgrowth.Theyaremiserablemuchofthetimetogether,yetneitherseemsbigenoughtopartfromtheother.Theyarepossiblypartsofadividedself.Gogoastheunconsciousmind,Didiastheconsciousmind.Theycannotseparateonceandforall.,.,PozzoPozzoisthemasterwhorulesoverLucky.Hestopsandtalkstothetwobumsinordertohavesomecompany.InthesecondactPozzoisblindandrequirestheirhelp.He,likeEstragon,cannotrememberpeoplehehasmet.Histransformationbetweentheactsmayrepresentthepassageoftime.,.,LuckyLuckyistheslaveofPozzo,thesymbolofman-as-a-machine.HeistiedtoPozzoviaaropearoundhisneckandhecarriesPozzosbags.Luckyisonlyallowedtospeaktwiceduringtheentireplay,buthislongmonologueisfilledwithincompleteideas.Heissilencedonlybytheothercharacterswhofightwithhimtotakeofhishat.Luckyappearsasamuteinthesecondact.,.,PozzoandLuckyareapairwhichcomplementeachother.Pozzosymbolizesthesadist;Luckythemasochist.Perhapsallslavesmustbecomemasochisticorelsedieinrebellion.Materialisticmanrejectsandsuppresseshisspiritualandculturalside.PozzoneedsLucky,andevenso,heisdyingandwithering.,.,BoyTheboyisaservantofMr.Godot.HeplaysanidenticalroleinbothactsbycomingtoinformVladimirandEstragontheMr.Godotwillnotbeabletomakeitthatnight,butwillsurelycomethenextday.TheboyneverremembershavingmetVladimirandEstragonbefore.Hehasabrotherwhoismentionedbutwhoneverappears.,.,TheCircularStructure,Inatraditionalplay,theplotsusuallygooninalineardevelopment.,anintroductionofthecharactersandtheexposition,astatementoftheproblemoftheplayAndtherelationshiptoitssettingsandcharacters,thedramatistsworldview,Climax;conclusion,.,IntheplaysoftheTheateroftheAbsurd,thestructureisoftenexactlytheopposite.,InWaitingforGodot,thesettingisthesame,andthetimeisthesameinbothacts.Eachactbeginsearlyinthemorning,justasthetrampsareawakening,andbothactsclosewiththemoonhavingrisen.Theactiontakesplaceinexactlythesamelandscapealonely,isolatedroadwithonesingletree.,.,Wearenevertoldwherethisroadislocated;allweknowisthattheactionoftheplayunfoldsonthislonelyroad.Thus,fromActItoActII,thereisnodifferenceineitherthesettingorinthetimeand,thus,insteadofaprogressionoftimewithinanidentifiablesetting,wehavearepetitioninthesecondactofthesamethingsthatwesawandheardinthefirstact.,.,Moreimportantthantherepetitionofsettingandtime,however,istherepetitionoftheactions.,VladimirandEstragonAloneArrivalofPozzoandLuckyVladimirandEstragonAloneArrivalofBoyMessengerVladimirandEstragonAlone,Atthebeginningofbothacts,thefirstdiscussionconcernsabeatingthatEstragonreceivedjustpriortotheirmeeting.Atthebeginningofbothacts,EstragonkeepsaskingVladimiriftheycanleave,onlytoreceivetheresponsethattheyarewaitingforGodot.Intheendingsofbothacts,VladimirandEstragondiscussthepossibilityofhangingthemselves,andinbothendingstheydecidetobringsomegoodstrongropewiththemthenextdaysothattheycanindeedhangthemselves.,.,TherepetitionofthefinaltwolinesfromthepreviousactattheplaysconclusionshowsthecontinuedimportanceofrepetitionandparallelisminWaitingforGodot.However,thecharactershaveswitchedlinesfromthepreviousact,suggestingthatultimately,despitetheirdifferences,VladimirandEstragonarereallyinterchangeableafterall.,.,WiththearrivalofPozzoandLuckyineachact,wenoticethateventhoughtheirphysicalappearancehastheoreticallychanged,outwardlytheyseemthesame;theyarestilltiedtogetheronanendlessjourneytoanunknownplacetorendezvouswithanamelessperson.Likewise,theBoyMessenger,whiletheoreticallydifferent,bringstheexactsamemessage:Mr.Godotwillnotcometoday,buthewillsurelycometomorrow.,Finally,andmostimportant,therearethelargerconcepts:first,thesufferingofthetramps;second,theirattempts,howeverfutile,topasstime;third,theirattemptstopart,and,ultimately,theirincessantwaitingforGodotallthesemakethetwoactsclearlyrepetitive,circularinstructure,andthefactthattheserepetitionsaresoobviousintheplayisBeckettsmannerofbreakingawayfromthetraditionalplayandofassertingtheuniquenessofhisowncircularstructure.,.,Beckettsdramaticworksdontreplytothetraditionalelementsofdrama.ForBeckett,languageisuseless;hecreatesamythicaluniversepeopledbylonelycreatureswhostrugglevainlytoexpresstheinexpressible.,Beckettsattitudetowardslang