20世纪文学课件BeckettGodot

1、20世纪文学课件BeckettGodot20世纪文学课件BeckettGodot1906Samuel Barclay Beckett Born in Dublin, on April 13, 1906. Solitude and loneliness. 1923-1927 French, Italian and English at Trinity College.1928-1936 In Paris, Beckett was introduced to James Joyce. Ireland, France, England and Germany.Becketts backgroundI

2、mage source: /emailuak/beckett/godo03.htm1906Samuel Barclay Beckett Be1937 settled down in Paris.1947 Beckett began to write in French. 1961 married Suzanne Deschevaux-Dumesnil.1969 Nobel Prize for literature. 1989 Becket died in Paris on December 22. Becketts backgroundImage source:http:/www.kennys

3、irishbookshop.ie/categories/nobelprize/1937Becketts backgroundImage Becketts dramatic works dont reply to the traditional elements of drama. For Beckett, language is useless; he creates a mythical universe peopled by lonely creatures who struggle vainly to express the inexpressible. human nature and

4、 human condition.Becketts dramatic worksBecketts dramatic works dontSamuel Becketts grave, Montparnasse Cemetery James JoyceSamuel Becketts graveJames Jo1952 written in French, and published.1953 premiered at the Babylone theater in Paris.1954 the English translation appeared.Waiting for Godot Image

5、 source: /estuff/booklist/details/388.html1952Waiting for Godot Image soCharactersVladimir -Estragon calls him Didi, -the boy calls him Mr. Albert -responsible and matureEstragon -Vladimir calls him Gogo -weak and helpless -has a poor memoryImage source:http:/dtf/gallery1/images/DTF-20_jpg.jpgCharac

6、tersImage source:http:/Pozzo- passes by the spot where Vladimir and Estragon are waiting and then provides a diversion. -blind, and forgets meeting Vladimir and Estragon before (Act ii).Lucky -Pozzos slave -Carries Pozzos bags and stoolPozzoBoy -Appears at the end to tell Vladimir that Godot wont be

7、 coming that night.Godot -The man that Vladimir and Estragon wait perpetually. -Never appears in the end of the play.Boy PlotAct One：Vladimir and Estragon are near a tree to wait for Godot. Pozzo and Lucky enter. Pozzo talks with Vladimir and Estragon, Lucky, dancing and thinking, makes them happy.

8、After Pozzo and Lucky leave, a boy tells Vladimir that Godot will not come that evening. Vladimir and Estragon decide to leave, but they do not move as the curtain falls. PlotAct One：Act Two：The next day, Vladimir and Estragon again near the tree to wait for Godot. Pozzo and Lucky enter again, but P

9、ozzo is blind and Lucky is dumb. Pozzo does not remember meeting the two men before. After they leave, Vladimir and Estragon continue to wait. And then the boy enters, he tells Vladimir that Godot will not come. He insists that he did not speak to Vladimir yesterday. After he leaves, Vladimir and Es

10、tragon decide to leave, but they do not move again, ending the play.Act Two：Tragicomedy Tragicomedy (or dark comedy or black comedy) refers to fictional works that blend aspects of the genres of tragedy and comedy. In English literature from Shakespeares time to the nineteenth century, tragicomedy r

11、efers to a serious play with a happy ending.Tragicomedy Tragicomedy (or daTragedy A tragedy is a drama, movie or sometimes a real world event with a sad outcome.Based upon Greek tragedies, it is a form of drama characterized by seriousness and dignity, usually involving a conflict between a characte

12、r and some higher power, such as the law, the gods, fate, or society. Tragedy A tragedy is a drama, ComedyComedy is the use of humor in the form of theater, where it simply referred to a play with a happy ending, in contrast to a tragedy. A recognized characteristic of comedy is that it is an intens

13、ely personal enjoyment. Comedy Symbolhat: reason? intellect?boot: body? It may suggest that humans try to earn a living and struggle for their life. tree nature? hope for their future? Image source: & Symbolhat: reason? intellec ThemeWaiting for something?Two tramps are waiting for Godot.They want t

14、o find something to prove their existence.For example, were waiting for nicer weather, the end of exams, etc. ThemeWaitingWere waiting all the time.Theater of the absurdWe should create the goal and the value of existence. Were waiting all the time.ThThe Theatre of the AbsurdThe term theater of the

15、absurd derives from the philosophical use of the word absurd by such existentialist thinkers as Albert CAMUS and Jean Paul SARTRE. Camus, particularly, argued that humanity had to resign itself to recognizing that a fully satisfying rational explanation of the universe was beyond its reach; in that

16、sense, the world must ultimately be seen as absurd. The Theatre of the AbsurdThe tThe Theatre of the AbsurdThe playwrights loosely grouped under the label of the absurd endeavor to convey their sense of bewilderment, anxiety, and wonder in the face of an inexplicable universe. They rely heavily on p

17、oetic metaphor as a means of projecting outward their innermost states of mind. Hence, the images of the theater of the absurd tend to assume the quality of fantasy, dream, and nightmare; they do not so much portray the outward appearance of reality as the playwrights emotional perception of an inne

18、r reality. The Theatre of the AbsurdThe pThe Theatre of the AbsurdThus Becketts Happy Days (1961) expresses a generalized human anxiety about the approach of death through the concrete image of a woman sunk waist-deep in the ground in the first act and neck-deep in the second; and Ionescos Rhinocero

19、s (1960; Eng. trans., 1960) demonstrates the playwrights anxiety about the spread of inhuman totalitarian tendencies in society by showing the population of a city turning into savage pachyderms. (source)The Theatre of the AbsurdThus The Theatre of the AbsurdOne of the most important aspects of absu

20、rd drama was its distrust of language as a means of communication. Language had become a vehicle of conventionalised, stereotyped, meaningless exchanges. Words failed to express the essence of human experience, not being able to penetrate beyond its surface. The Theatre of the Absurd constituted fir

21、st and foremost an onslaught on language, showing it as a very unreliable and insufficient tool of communication. The Theatre of the AbsurdOne oThe Theatre of the AbsurdAbsurd drama uses conventionalised speech, clichs, slogans and technical jargon, which is distorts, parodies and breaks down. By ri

22、diculing conventionalised and stereotyped speech patterns, the Theatre of the Absurd tries to make people aware of the possibility of going beyond everyday speech conventions and communicating more authentically. Conventionalised speech acts as a barrier between ourselves and what the world is reall

23、y about: in order to come into direct contact with natural reality, it is necessary to discredit and discard the false crutches of conventionalised language. The Theatre of the AbsurdAbsurThe Theatre of the AbsurdObjects are much more important than language in absurd theatre: what happens transcend

24、s what is being said about it. It is the hidden, implied meaning of words that assume primary importance in absurd theatre, over an above what is being actually said. The Theatre of the Absurd strove to communicate an undissolved totality of perception - hence it had to go beyond language. The Theat

25、re of the AbsurdObjecThe Theatre of the AbsurdAbsurd drama subverts logic. It relishes the unexpected and the logically impossible. In trying to burst the bounds of logic and language the absurd theatre is trying to shatter the enclosing walls of the human condition itself. Our individual identity i

26、s defined by language, having a name is the source of our separateness - the loss of logical language brings us towards a unity with living things. In being illogical, the absurd theatre is anti-rationalist: it negates rationalism because it feels that rationalist thought, like language, only deals

27、with the superficial aspects of things. Nonsense, on the other hand, opens up a glimpse of the infinite. It offers intoxicating freedom, brings one into contact with the essence of life and is a source of marvellous comedy. The Theatre of the AbsurdAbsurThe Theatre of the AbsurdNo dramatic conflict

28、in the absurd plays! Dramatic conflicts, clashes of personalities and powers belong to a world where a rigid, accepted hierarchy of values forms a permanent establishment. Such conflicts, however, lose their meaning in a situation where the establishment and outward reality have become meaningless. The Theatre of the AbsurdNo drThe Theatre of the Absurd However frantically characters perform, this only underlines the fact that nothing happens to change their existence. Absurd dramas are lyrical statements, very much