Awareness of man’s propensity to evil and conscience of the destructive power of scientific knowledge



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Awareness of man’s propensity to evil and conscience of the destructive power of scientific knowledge.

  • Awareness of man’s propensity to evil and conscience of the destructive power of scientific knowledge.

  • The lack of moral assurance and the decline of religious faith.

  • The disillusionment with both the liberal and social theories about economic and social progress.

  • Mistrust in the power of reason.



Existentialism saw man trapped in a hostile world.

  • Existentialism saw man trapped in a hostile world.

  • Human life was meaningless and this created a sense of confusion, despair and emptiness.

  • The universe was not rational and defied any explanation = ABSURD

  • The main exponent of this philosophical current was the French Jean Paul Sartre.



  • During the 1950’s= REVIVAL of DRAMA in Britain

  • showing REJECTION of TRADITIONAL

  • VALUES

  • TWO MAIN TRENDS in new post-war drama:

  • ANGER and ABSURD



EDUCATED middle class or working class playwrights (left-wing ideas)

  • EDUCATED middle class or working class playwrights (left-wing ideas)

  • Also called the KITCHEN-SINK DRAMA (squalid setting)

  • Formally NOT innovative plays  REALISTIC PLAYS

  • but INNOVATIVE CONTENTSTRONG CLASS CONSCIOUSNESS

  • Frustration of the younger generation who rejected their parents’ middle class values and wanted to expose their unfair situation

  • Direct/real language of the working class

  • Attacks against the establishment (the ruling classes and their values)

  • main exponent = John Osborne – Look back in Anger (1956)



Influence of Camus and Sartre (existentialism)

  • Influence of Camus and Sartre (existentialism)

  • pessimistic view of man’s existence=

  • no purpose at all in man’s life, totally absurd

  • =

  • After 2 world wars, in a world with no religion, with no belief  Man is lost

  • ?

  • A BIG existential question

  • WHAT IS THE PURPOSE OF HUMAN EXISTENCE?



NO MEANING AT ALL

  • NO MEANING AT ALL

  • A tragic situation

  • Beckett’s plays want to represent just this

  • The absurdity and Irrationality of Human Existence

  • To represent this …

  • …he could not follow a realistic form of drama

  • INNOVATIVE FORM



The sense of man’s alienation.

  • The sense of man’s alienation.

  • The cruelty of human life.

  • The absence or the futility of objectives.

  • The meaninglessness of man’s struggle



Term applied to a group of dramatists:

  • Term applied to a group of dramatists:

  • Rumanian Ionesco, Russian Adamov (Beckett met them in Paris) Beckett (the most representative)

  • but not a “school” (each worked on his own)



First written in French and performed in Paris En Attendant Godot (1953) (written in a foreign language to maintain the language as simple and detached as possible)

  • First written in French and performed in Paris En Attendant Godot (1953) (written in a foreign language to maintain the language as simple and detached as possible)

  • Then translated (by Beckett himself) into English (1954) and performed in London Waiting for Godot (1955)

  • General situation of B’s plays

  • All of his characters ARE TRAPPED by a situation from which they can not escape (buried in earth, in dustbins)



TRADITIONAL DRAMA

  • TRADITIONAL DRAMA

  • There is a story developing in time

  • Portrait of society through realistic characters who move in a definite period of time

  • the audience can identify themeselves with the characters



TRADITIONAL



TRADITIONAL DRAMA

  • TRADITIONAL DRAMA

  • = Realistic setting

  • and scenery



Two tramps ESTRAGON (gogo) and VLADIMIR (didi)

  • Two tramps ESTRAGON (gogo) and VLADIMIR (didi)

  • Other two tramps POZZO (the boss) and LUCKY (the slave)

  • The boy announcing the arrival of GODOT (that never comes)

  • Who is godot?

  • It may recall the idea of God (In French= Little God)

  • Go + . (dot) (they want to go but they do not move)

  • N.B.: Beckett never said it was God

  • This is what the characters do:

  • just WAITING FOR GODOT (main theme)

  • Godot = something/someone that could relieve man from an unbearable situation

  • But…… GODOT NEVER COMES



TRADITIONAL

  • TRADITIONAL

  • DRAMA

  • Realistic characters

  • with their personalities

  • Belonging to a specific social class



TRADITIONAL DRAMA

  • TRADITIONAL DRAMA

  • Realistic,

  • Characters speak to communicate



It is pervaded by a grotesque humour (irony about everything because everything is equally meaningless)

  • It is pervaded by a grotesque humour (irony about everything because everything is equally meaningless)

  • It may be considered a Tragi-comedy

  • Tragedy= they would like to commit suicide to put an end to their absurd, desperate situation

  • Comedy= There is no tragic end, they fail, they cannot escape their existential situation

  • Its tone is tragic and desperate.



IRISH - Born in Dublin (Anglo-Irish parents)

  • IRISH - Born in Dublin (Anglo-Irish parents)

  • Graduated in Modern Languages (French, Italian) at Trinity College, Dublin

  • 1928 Paris (lecturer at Ecole Normale)

  • Influenced by EXISTENTIALISM (Camus, Sartre)

  • Met Ionesco and Adamov in Paris

  • Back to Ireland: Teacher at Trinity College Dublin

  • 1931 (25 years old)  vagabond years across Europe  finally Paris (1936)



World War II  fought in the Resistance Movement

  • World War II  fought in the Resistance Movement

  • 1945 definetely in Paris (met Joyce)

  • Wrote in French and English, indifferently

  • En Attendant Godot = Instant success

  • He wrote other plays (Endgame, Happy days), critical essays, radio plays.

  • 1969 NOBEL PRIZE for LITERATURE





Yüklə 445 b.

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