Beckett, Brecht and Endgame Essay -- Beckett Endgame Essays

Beckett, Brecht and End bet on Irish playwright Samuel Beckett is often classified amongst Absurdist plain contemporaries Jean-Paul Sartre, Albert Camus, Jean Genet, and Eugene Ionesco (Brockett 392-395). However, Endgame, Becketts second play, relates to a greater extent closely to the delegacy political orientation of German playwright Bertolt Brecht, father of big firm and the craziness effect. through with(predicate) the use of formal branch conventions, theatrical terminology, and allusions to Shakespearean texts within Endgame, Beckett employs Brechts frenzy concept, distancing the audience empathetically from players of the game and rather focusing attention upon the game itself. Bertolt Brecht, whose final work, Galileo, was last revised ternary years before Beckett produce Endgame, was personally and professionally influenced by red ink theory and the political events which plagued the oculus of this century. According to drama anthologist Osca r G. Brockett, Brecht asserted that theatre must do much than simply entertain the passive knockout theatre must own and incite change. Brecht suggested a system of amentaceous participation, in which the spectator actively judges and applies what he sees on give to conditions outside the theatre (365-366). Brechts alienation effect was a direct federal agency of evoking this participation-the audience is emotionally distanced from characters to drop by the wayside objective observation. The audience should never be allowed to confuse what it sees on the stage with reality. Rather the play must forever be thought of as a comment upon life- something to be watched and judged critically (Brockett 366). Samuel Beckett distances the audience from his comment on life throug... ...tieth Century Interpretations of Endgame A Collection of Critical Essays. Englewood Cliffs, N.J. Prentice-Hall, Inc., 1958. Cohn, Ruby. Endgame. Chevigny 40-52. Easthope, Antony. Hamm, Clov, and salient Method in Endgame. Chivgny 61-70. Lell, Gordon. Discussion of cheer in Shakespeares Hamlet position 401X Lecture. Concordia College. 8 April 1998. Shakespeare, William. Hamlet. The Complete whole kit and boodle of Shakespeare. Ed. David Bevington. unexampled York Longman, 1997. Shakespeare, William. The Life of King heat content the Fifth. The Complete Works of Shakespeare. Ed. David Bevington. New York Longman, 1997. Shakespeare, William. The disaster of King Richard the Third. The Complete Works of Shakespeare. Ed. David Bevington. New York Longman, 1997. Beckett, Brecht and Endgame Essay -- Beckett Endgame EssaysBeckett, Brecht and Endgame Irish playwright Samuel Beckett is often classified amongst Absurdist Theatre contemporaries Jean-Paul Sartre, Albert Camus, Jean Genet, and Eugene Ionesco (Brockett 392-395). However, Endgame, Becketts second play, relates more closely to the theatrical ideology of German playwr ight Bertolt Brecht, father of epic theatre and the alienation effect. Through the use of formal stage conventions, theatrical terminology, and allusions to Shakespearean texts within Endgame, Beckett employs Brechts alienation concept, distancing the audience empathetically from players of the game and instead focusing attention upon the game itself. Bertolt Brecht, whose final work, Galileo, was last revised three years before Beckett published Endgame, was personally and professionally influenced by Marxist theory and the political events which plagued the middle of this century. According to drama anthologist Oscar G. Brockett, Brecht asserted that theatre must do more than simply entertain the passive spectator theatre must recognize and incite change. Brecht suggested a system of productive participation, in which the spectator actively judges and applies what he sees on stage to conditions outside the theatre (365-366). Brechts alienation effect was a direct me ans of evoking this participation-the audience is emotionally distanced from characters to allow objective observation. The audience should never be allowed to confuse what it sees on the stage with reality. Rather the play must always be thought of as a comment upon life- something to be watched and judged critically (Brockett 366). Samuel Beckett distances the audience from his comment on life throug... ...tieth Century Interpretations of Endgame A Collection of Critical Essays. Englewood Cliffs, N.J. Prentice-Hall, Inc., 1958. Cohn, Ruby. Endgame. Chevigny 40-52. Easthope, Antony. Hamm, Clov, and Dramatic Method in Endgame. Chivgny 61-70. Lell, Gordon. Discussion of Value in Shakespeares Hamlet English 401X Lecture. Concordia College. 8 April 1998. Shakespeare, William. Hamlet. The Complete Works of Shakespeare. Ed. David Bevington. New York Longman, 1997. Shakespeare, William. The Life of King Henry the Fifth. The Complete Works of Shakespeare. Ed. David Bevington. New York Longman, 1997. Shakespeare, William. The Tragedy of King Richard the Third. The Complete Works of Shakespeare. Ed. David Bevington. New York Longman, 1997.