Piese de Samuel Beckett

... but the clouds ...
The play opens in darkness. It fades up to a shot from behind of M, a “man sitting on an invisible stool and bowed over an invisible table.” He is wearing his gown and nightcap. This is the only way we ever see him in the present, bowed over his table.
A Piece of Monologue
A speaker “tells a ‘story’ of a man so much like himself that it is clear he is simply speaking of himself in the third person" who is first seen staring out of a window at “that black vast.” He has been contemplating the length of his life, which he totals up to “two and a half billion seconds” or “thirty thousand nights.” He focuses at first on only two things, being handed around as an infant and the various funerals that have punctuated his time on earth. Speaker describes the man’s efforts to light an old-fashioned oil lamp in great detail. He uses up three matches in the process.
All That Fall
This is the first work by Beckett where a woman is the central character. In this case it is a gritty, "overwhelmingly capacious", outspoken, Irish septuagenarian, Maddy Rooney, plagued by "rheumatism and childlessness".
Asteptandu-l pe Godot Text disponibil online
Doi vagabonzi, Gogo şi Didi, asteapta in pustiu, langa un copac, venirea lui Godot, pe care nu il cunosc prea bine, dar de la care asteapta multe (nici ei nu stiu exact ce). Intre timp, trece pe acolo Pozzo, insotit de servitorul sau, Lucky. Godot nu vine, in schimb trimite un mesaj printr-un baiat. A doua zi, totul se petrece la fel, dar mult mai trist.
Its length can be estimated from Beckett's detailed instructions in the script to be about 25 seconds. It consists of the sound of “an instant of recorded vagitus”[2] (a birth-cry), followed by an amplified recording of somebody slowly inhaling and exhaling accompanied by an increase and decrease in the intensity of the light. There is then a second identical cry, and the piece ends. No people are seen on stage, but Beckett states that it should be "littered with miscellaneous rubbish."
The play opens with a familiar Beckettian theme, the search to put an end to language: “—story . . . if you could finish it . . . you could rest . . . sleep . . . not before”. “The shape of the narrative itself is indicative of the mind already in the process of degenerating towards an impasse. Voice alternates between talking about the story-telling itself, or the need to find the story to end all stories, and narrating story."
An autocratic Director and his female Assistant put the “‘final touches to the last scene’ of some kind of dramatic presentation”, which consists entirely of a man (The Protagonist) standing still onstage. The Assistant has arranged the man as she has seen fit to, atop a “black block 18” high”, draped in a “black dressing gown down to his ankles” and – peculiarly – sporting a “black wide-brimmed hat.” The bulk of the drama consists of the Director wresting control from her and moulding the man on stage to suit his personal vision. The Director is an irritable and impatient man, his annoyance likely exacerbated by the fact that he has another appointment, “a caucus” to attend and his time there is limited.
Come and Go
Flo, Vi, and Ru are sitting quietly on a narrow bench like seat surrounded by darkness. They are childhood friends who once attended "Miss Wade's" together and sitting side by side in this manner is something they used to do in the playground back then. The three characters – unusually for Beckett – wear colourful full-length coats, albeit now dulled over time; they are effectively three faded flowers.
The plot concerns the efforts of a young member of the bourgeoisie, Victor Krap, to cut himself off from society and his family—while at the same time accepting hand-outs from his mother. The title, eleutheria (ελευθερία) is Greek for "liberty". Each act takes place on successive Winter days in Paris.
The play opens with the sea in the distance and the sound of footsteps on shingle. Henry has been walking along the strand close to where he has lived his whole life, at one time or other on either side of "a bay or estuary". Henry starts to talk, a single word, "on," followed by the sea again, followed by the voice – louder and more insistent this time, repeating the same word, as it will say, then repeat as a command, the words "stop" and "down." Each time, Henry obediently yet reluctantly does what his voice first says, then tells him to do, he stops and sits down on the shingle. Throughout the play the sea acts like a character in its own right.
Fin de partie Text disponibil online
Hamm (un fost actor) locuieste intr-o incapere (atemporala si aspatiala) impreuna cu servitorul sau Clov (posibil fiu) si cu parintii sai (fara picioare,pe care ii tine in pubele, ingropati in nisip). Toate personajele sunt marcate prin dizabilitati fizice /anatomice – Clov nu poate sta jos (are piciorele intepenite), Hamm nu vede si nu se poate ridica ( este paralizat), Nagg si Nell nu au picioare. Personajele sunt intr-o permanenta asteptare si invocare a sfarsitului.
The play is in four parts. Each opens with the sound of a bell. After this the lights fade up to reveal an illuminated strip along which a woman, May, paces back and forth, nine steps within a one-metre stretch. In each part, the light will be somewhat darker than in the preceding one. Therefore, it is darkest when the strip is lit up without May at the very end. Correspondingly, the bell gets slightly softer each time.
From an Abandoned Work
The first person narrative revolves around three days in the early life of a neurotic old man. "None of the days is described clearly or coherently and few details are given for the second and third days." It is unlikely that the days are actually chronologically contiguous although the general framework does tend to be, digressions aside. The story begins with the old man remembering back to when he was young, probably a young man rather than a child per se.
Ghost Trio
Beckett’s stage layout is very precise. The setting yet another "familiar chamber",as the woman’s voice puts it. In the text he includes a detailed diagram, a variation of which is reproduced aside. Aside from the music, there are other trios at work here: there are three characters, the film is shot from three camera angles and the play is broken into three ‘acts’, each with a meaningful title.
Krapp's Last Tape
It is Krapp’s 69th birthday and he hauls out his old tape recorder, reviews one of the earlier years – the recording he made when he was 39 – and makes a new recording commenting on the last 12 months. On his desk are a tape-recorder and a number of tins containing reels of recorded tape. He consults a ledger. The tape he is looking to review is the fifth tape in Box 3. He reads aloud from the ledger but it is obvious that words alone are not jogging his memory. He takes childish pleasure in saying the word ‘spool’.
La derniere bande
Bătrânul beţiv Krapp îşi poartă singurătatea cum poate: lângă magnetofon, cu benzile într-o dezordine strictă, cu sticla de băutură în camera de alături şi cu porţia zilnică de trei banane la îndemână. Pentru el, prezentul e neputinţă, viitorul nu există, iar trecutul nu se mai poate schimba. Amintirile lui Krapp sunt blestemul lui.
Night and Dreams
Beckett lists five elements that make up the play: evening light, the dreamer (A), his dreamt self (B), a pair of dreamt hands and the last seven bars of Schubert’s lied. It reads more like a formula or a list of ingredients than a cast. The action begins with a dreamer sitting alone in a dark empty room; his hands are resting on the table before him. He is on the far left of the screen and we are presented with his right profile. A male voice hums the last seven bars of the Schubert lied.
Not I
The play takes place in a pitch-black space illuminated only by a single beam of light. This spotlight fixes on an actress's mouth about eight feet above the stage, everything else being blacked out and, in early performances, illuminates the shadowy figure of the Auditor who makes four increasingly ineffectual movements "of helpless compassion" during brief breaks in the monologue where Mouth appears to be listening to some inner voice unheard by the audience.
Oh les beaux jours
Winnie, îngropată pînă la brîu în nisip, scoate din poşetă obiecte banale pentru a compensa vidul care invadează fiecare oră a “frumoasei zile”. Ea doreşte să vorbească neîncetat pentru a învinge liniştea care o înconjoară. Îşi caută partenerul, pe Willie, o epavă umană redusă la nevoile elementare, dialoghează cu el. În ciuda a toate, este aici o dragoste de viaţă de nestins.
Ohio Impromptu
The narrative, written in the past tense, tells a story of someone, possibly Listener himself, who in a “last attempt to obtain relief” following the loss of a loved one, moves away to the Isle of Swans, a place where they never had been together. In doing this he completely disregards their warning, when they appeared to him in a dream.
The main part of this play is made up of short, occasionally fragmented sentences spoken in a “rapid tempo throughout” which in his 1978 rehearsals he likened to a lawn mower – a burst of energy followed by a pause, a renewed burst followed by another pause. He wrote each part separately, then interspersed them, working over the proper breaks in the speeches for a long time before he was satisfied.
"A piece for four players, light and percussion" and has also been called a "ballet for four people." It consists of four actors dressed in robes, hunched and silently walking around and diagonally across a square stage in fixed patterns, alternately entering and exiting. Each actor wears a distinct colored robe (white, red, blue, yellow), and is accompanied by a distinct percussion instrument (leitmotif).
A woman dressed in an evening gown is sitting in a wooden rocking chair; no other props or scenery are called for. She sits totally still until the very end of the play. The chair apparently starts and stops “rocking of its own accord, since her feet are visible on its footrest. The motion creates a ghostly atmosphere.”
Rough for Radio I
An unnamed woman visits a gloomy man, who we learn is called Macgillycuddy.She is under the impression that she is there on his invitation; he says not but nevertheless allows her entry. He is civil, formal, his conversation phatic He effects a faux-subservience with his continual use of “Madam”, but takes no steps to make her stay comfortable, refusing to provide even “a little heat” or “a little light”but he doesn’t go so far as to forbid her squatting on the thick cushion she sees.
Rough for Radio II
A man, who we discover has the title “Animator” makes small talk with his young female stenographer: is she ready to get to work, does she have the tools of her trade? The interchange is light and familiar. He then consults a character called Dick; is he on his toes?
Suntem ultimii 5
Despre condiția umană, despre acțiunile și gândurile noastre în încercarea de a exista, alături de ceilalți, în societate.
That Time
Each voice in That Time has a subject area independent of the others at first, but as the play progresses, connections are made through common images and recurring themes. C’s story takes place in winter; B’s events take place in summer so it is logical to assume that A’s tale happens in autumn, “pale sun”. A sits on a stone step but remembers sitting on a stone in the folly, B sits on a stone by the wheat field and C on a marble slab in the portrait gallery linking the memories. The facts that the man's parents are both are dead and the green greatcoat left for him by his father are mentioned in A12 and C2.
What Where
The play follows a seasonal pattern. The voice tells us that it is spring and turns on the light. Bom enters from the north and is questioned by Bam as to the results of an interrogation.
Words and Music
The play takes place in what Katharine Worth describes as "an unidentified ‘listening’ space," another of Beckett’s "skullscapes." The only specific location mentioned is "the tower" – perhaps a folly – so the scene may well be in a castle with Croak in the role of châtelain. Croak is a doddery old man, testy and maudlin. He is never referred to by name in the play itself but he is well named. Joe addresses to him – albeit somewhat obsequiously – as, "My Lord," since, despite his apparent frailty, he has plainly been someone used to wielding authority.

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Samuel Beckett

Samuel Beckett s-a nascut la data de 13 aprilie 1906 in Dublin, Marea Britanie.

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