Identität und Erinnerung in Werken von Samuel Beckett (German Edition)

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Request a new password via email. Table of Content Introduction 1. Life at its final stage 2. A play signifying nothing? Beckett 53 Introduction Endgame Fin de Partie and Exit the King Le Roi se Meurt - two plays about fallen kings trapped at the end of time and unable to give meaning to existence.

Life at its final stage One of the main metaphors of the two one act plays is that of life coming to an end and the material world vanishing. This notion of a ruined world reflects the postmodern hopelessness after the catastrophe of the Holocaust: And there is no hope that any change will ever be possible: Have you not had enough? All life long the same questions, the same answers. The metaphor of life that Beckett creates is one of ultimate cruelty, of human beings deprived of meaning and confined to the mere nature of existence: Nature has forgotten us.

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Death and the End of Time in Beckett's Endgame and Ionesco's Exit the King

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Hildebrandt, Hans-Hagen

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In Happy Days, Winnie, to fill a dreaded, empty silence, ceaselessly speaks to Willie, who, for the most part, remains mute and immobile. The play culminates in unbearable silence. The use of silence achieved its peak in the two mime-plays Act without Words I and II which I will discuss later in chapter 3. As we have seen in this paragraph the history of pantomime is inseparably conncted with the development of the clown-figure.

She uses a historical approach to explain the origin of the clown-figure and mentions different synonymous expressions which are closely connected with the clown: But this characterisation of the clown does not do justice to its multifaceted nature. She points to the possibility of clothing which contributes to the comic effect by wearing either too tight or too large costumes and can be underlined both by a mask or just certain facial grimaces.

One trait of the clown is his unconsciousness of his physical limitations which often leads to hopeless situations in which he tries to struggle against the universe. Another feature is his conscious disregard of moral standards and his disrespect of authority. Slapstick is applied, as well, to create physical action in order to make words redundant.

Hildebrandt, Hans-Hagen [WorldCat Identities]

Diese Erscheinung entsteht durch eine charakteristische clowneske Wesensart: This deviation from an existing norm, be it a social, clothing or behavioural norm, is as a matter of course the most elementary feature of every clownesque figure. To complete the general explanations over clowns I want to add the list of clowntypes distinguished by Winkler:.

Although not completely deranged like the fool, he is of simple mentality, slow of understanding, and unable to see through the wiles of others. In certain respects the simpleton shows affinities with the child: The simpleton belongs to the most ancient of clown types. Two more types are the braggart and the pedant which are quite alike characters. The pedant has often occured in comedies of all kinds since he mostly occupies a profession of high social status for which he is not qualified, like Groucho Marx of The Marx Brothers — especially in The Marx Brothers Radio Show - who pretends to be a lawyer named Firefly but does nothing else than cause confusion at the cost of his clients supported by his imbecilic companion Ravelli.

The last two types to be mentioned are the parasite and the tramp. The latter - also named August, at least in circus surroundings - has reached his perfection and stardom thank to Charles Chaplin. But they also appear as single as in Act Without Words I where the clown is even introduced as a mime beforehand. Nevertheless it gives reason for the assumption that there could be found comic elements in the play and its characters. One of the first proofs that the immerse into the action is at the same time the entrance to the environment of a circus might be seen in the following dialogue between Vladimir and Estragon: Germanistik - Neuere Deutsche Literatur.