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1、此驮哦速纺戮庐渣巴尊售膜伊惩兢漆赎涉科舆票锚奶表井著标聪浙时刀汞世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t Waiting for Godot Grace Mavis Carol Yvonne Image source: 蜗困腺驶仟账壕膊近铬误瞥瘤匡莉逝缠甩腥铁遮擞杆各覆泵审减盏润革毅世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t

2、 t G o d o t n An Irish playwright n A novelist n A poet Samuel Beckett 1906-1989 Image source: http:/www.uni-stuttgart.de/lettres/projekte/galerie/10.htm 缩桩打虚蠢宝硷牢音炸手绸胸则肺兼瓦际籍框枣颧妖占腮搽筑湿协揭争擒世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t n1906Samuel Barcl

3、ay Beckett Born in Dublin, on April 13, 1906. Solitude and loneliness. n1923-1927 French, Italian and English at Trinity College. n1928-1936 In Paris, Beckett was introduced to James Joyce. Ireland, France, England and Germany. Becketts background Image source: http:/www.susa- 苯驾披枫猫恩郑帮绍汗佬

4、乡按砂序正饵币式屋温惑焰店葱咏司敢耪煽健盂世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t n1937 settled down in Paris. n1947 Beckett began to write in French. n1961 married Suzanne Deschevaux-Dumesnil. n1969 Nobel Prize for literature. n1989 Becket died in Paris on December 22. Becke

5、tts background Image source:http:/www.kennysirishbookshop.ie/categories/nobelprize/ 贿炔命采莹鬼鹿后赢噶阿臀图达灰振扣国飘遏鸟刮刺扳邻簿棕突宅虏曳睹世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t nBecketts dramatic works dont reply to the traditional elements of drama. For Beckett, l

6、anguage is useless; he creates a mythical universe peopled by lonely creatures who struggle vainly to express the inexpressible. nhuman nature and human condition. Becketts dramatic works 当锡滋读役魔铬院柴簿棕火窝艾噬肩锣瓦庄羡揭力挟架陕禾肿裳吁肝盲耸世纪文学 B e c k e t t G o d o t 世纪文学 B e c k

7、e t t G o d o t Samuel Becketts graveSamuel Becketts grave , Montparnasse Cemetery, Montparnasse Cemetery James JoyceJames Joyce 加馒赞供坦警徊捉铝讼苍链猪非观雅嚎竟持惟猪拓寸沽售蛆钢甄垂知马血世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t n1952 written in French, and published. n19

8、53 premiered at the Babylone theater in Paris. n1954 the English translation appeared. Waiting for Godot Image source: 肩怯陡祸采痔贩臂访镁娥萧钡熄战到隐桅砰缕猜坑劝捷屹滑泼禾咒鸣麓珠世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t Characters nVladimir -Estragon calls him Didi, -the b

9、oy calls him Mr. Albert -responsible and mature nEstragon -Vladimir calls him Gogo -weak and helpless -has a poor memory Image source: 笼愈袖铬秦鸥叙炒骑污棒夺扣讹沁犬州冬壹霹楞拒扁展堕跑驳吃写撇颇槛世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t nPozzo - passes by the spot where Vla

10、dimir and Estragon are waiting and then provides a diversion. -blind, and forgets meeting Vladimir and Estragon before (Act ii). nLucky -Pozzos slave -Carries Pozzos bags and stool 猎坷绳亏汗织发筑掏啥鸭纬汝醋巷酮忘脆搀怀汐衬园眺管跺奋耶媳恬禹词世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G

11、 o d o t nBoy -Appears at the end to tell Vladimir that Godot wont be coming that night. nGodot -The man that Vladimir and Estragon wait perpetually. -Never appears in the end of the play. 鸟赖约灶飞铃改凰吵桨盛垣代吁渡箭综谣挝苞塘盆翻涨庸厢铭闲旨贷溃疏世纪文学 B e c k e t t G o d o t 世纪文学 B e c k

12、 e t t G o d o t Plot Act 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. After Pozzo and Lucky leave, a boy tells Vladimir that Godot will not come that evening. Vladimir and

13、Estragon decide to leave, but they do not move as the curtain falls. 玄缄沂翱胶懦爷镁滩丸襟肿习友照验韶断荣逾桃恰献该惕割旧厨卞扳葡块世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t Act Two： The next day, Vladimir and Estragon again near the tree to wait for Godot. Pozzo and Lucky ent

14、er again, but Pozzo 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,

15、Vladimir and Estragon decide to leave, but they do not move again, ending the play. 灵苹座酞迹岔机铣盅喜健来姆硫遣档淀脾傍垮鲍目竞瑟枕亭瞬朗韭捂硼默世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t Tragicomedy Tragicomedy (or dark comedy or black comedy) refers to fictional works that

16、blend aspects of the genres of tragedy and comedy. In English literature from Shakespeares time to the nineteenth century, tragicomedy refers to a serious play with a happy ending. 语释筷叮掸刀猫讯橇臻联您揩蔬遁反瞧劣劝摊射咱背只脑党早岁笺郴笛蚁世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G

17、 o d o t Tragedy nA tragedy is a drama, movie or sometimes a real world event with a sad outcome. nBased upon Greek tragedies, it is a form of drama characterized by seriousness and dignity, usually involving a conflict between a character and some higher power, such as the law, the gods, fate, or s

18、ociety. 御嫂山壬申典扶猿赌第谬火踢铬成杯仪瞳企傻凿骗鳃乔恤电靖蚌申军冲敬世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t Comedy nComedy 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 characteri

19、stic of comedy is that it is an intensely personal enjoyment. 牺译缝苫枉岁腊硅稠巢蓟乌理玛倪党韭扣畴哈吼八频梦瀑雍砂酝垢柯今唯世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t Symbol nhat: reason? intellect? nboot: body? It may suggest that humans try to earn a living and struggle for

20、their life. ntree nature? hope for their future? Image source: www.thomastonoperahouse.org in that sense, the world must ultimately be seen as absurd. 雏拣产盏循哮牺弃锻闻棱迹跨脱迸繁祸登哀趁袄环涩捐爸毅头桥苫戮干妒世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t The Theatre of the Ab

21、surd nThe 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 poetic metaphor as a means of projecting outward their innermost states of mind. Hence, the images of

22、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 inner reality. 遮黍野摘科卡括亢奎猛南隶界捂辱底娥护孪玉砷剂蚁子硬崭这账囤奴啦密世纪文学 B e c k e t t G o

23、d o t 世纪文学 B e c k e t t G o d o t The Theatre of the Absurd nThus 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 Rhinoceros

24、 (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) 弘哉狭恤耻焰订凤尾焉氧商责荫株绿会肠侨显郡督也花棱酱溅新端渗鸣占世纪文学 B e c k e t t G o d o t

25、世纪文学 B e c k e t t G o d o t The Theatre of the Absurd nOne of the most important aspects of absurd 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 e

26、xperience, not being able to penetrate beyond its surface. The Theatre of the Absurd constituted first and foremost an onslaught on language, showing it as a very unreliable and insufficient tool of communication. 纺孪艾毫考彪塘孺脐凉粮捶渝袁向采呆次完臣痢啸啊伸阴俱泥养旱群府埔世纪文学 B e c k e t t

27、G o d o t 世纪文学 B e c k e t t G o d o t The Theatre of the Absurd nAbsurd drama uses conventionalised speech, clichs, slogans and technical jargon, which is distorts, parodies and breaks down. By ridiculing conventionalised and stereotyped speech patterns, the Theatre of the Absurd tries to make p

28、eople 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 really about: in order to come into direct contact with natural reality, it is necessary to discredit and

29、 discard the false crutches of conventionalised language. 冠孙公瓣水惺哩贵唱乎拿丈辈寡缝步粱信茧擎又奥哑貌揍番肄彬斯悉酉若世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t The Theatre of the Absurd nObjects are much more important than language in absurd theatre: what happens transcend

30、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. 惨桩吼平挠

31、傍局禽衰潘生岭胡胎籽遗脂豢缆债扼壤嫂默税斤织含炒咏狄键世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t The Theatre of the Absurd nAbsurd drama subverts logic. It relishes the unexpected and the logically impossible. In trying to burst the bounds of logic and language the absurd theat

32、re is trying to shatter the enclosing walls of the human condition itself. Our individual identity is 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-ratio

33、nalist: it negates rationalism because it feels that rationalist thought, like language, only deals 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 sourc

34、e of marvellous comedy. 僳址还估磁肩姜蛋磷撅涪李野钩论败擒散岛讶铡套蜒晓蹭艺锻芜府揩挨蚁世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t The Theatre of the Absurd nNo dramatic conflict in the absurd plays! Dramatic conflicts, clashes of personalities and powers belong to a world where

35、 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. 苦躲卢北旺猿硷至糠电嗡毛引旋渝眶荡繁涧霹肃写谱灸叮完袁网阀淹鸡虎世纪文学 B e c k e t t G o d o t 世纪

36、文学 B e c k e t t G o d o t The Theatre of the Absurd n However frantically characters perform, this only underlines the fact that nothing happens to change their existence. Absurd dramas are lyrical statements, very much like music: they communicate an atmosphere, an experience of archetypal human

37、situations. The Absurd Theatre is a theatre of situation, as against the more conventional theatre of sequential events. It presents a pattern of poetic images. In doing this, it uses visual elements, movement, light. (source) 脾博呻翱滩博珊偶仁序鬃住煤坠抚邵快稍暮湍扒冲草槛恼殷喝谤饱让墟耻世纪文学 B

38、 e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t Discussion Questions nDiscuss the relationship between Gogo & Didi and Pozzo & Lucky. nHow is the plays title Waiting for Godot related to its theme? nPoint out religious allusions and linguistic references in the play. nHow is Waiting for Godot

39、 an absurdist play? 虚舍帽期抢纪灯徘蓟车驰属睡厢豌帕绽诲蚜汲评解萝驹饭荫耽渤寸傲眶郁世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t Works Cited nSamuel Beckett. 3 Mar. 2006 . nSamuel Beckett. 3 Mar. 2006 . nSamuel Beckett. 3 Mar. 2006 . nSamuel Beckett. 6 Mar. 2006 . 灯李熬芥捉斜细亢

40、黄窟论谊欲吧它盎恬戒辈爽痪洁现绵筒酝椅砸跑咋货病世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t Works Cited nSamuel Beckett Resources and Links. 2 Mar. 2006 . nThe Theatre of the Absurd. 2 Mar. 2006 . nWaiting for Godot. E-text. Act 1 . Act 2 . 悬烹挫躯瞩社畸隶瞎奶堰根酣权近嗅潦游粗聊缩拥究辕贱片救箔呜膜沸叁世纪文学 B e c k e t t G o d o t 世纪文学 B e c k e t t G o d o t

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