1. ENGLISH - Nick Mount on Samuel Beckett's Waiting for Godot
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Nick Mount on Samuel Beckett's Waiting for Godot - Transcript
Intro
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Samuel becket's uh waiting forato premiered on January the 3D
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1953 at a very small theater in Paris uh called the theat DU
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babyon according to becket's biographer uh James noson the play became a hit only after
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and because it upset many among its first
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audiences at the Paris Premiere a group of well-dressed hecklers forced the
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curtain to come down after Lucky's monologue and the play was put on hold for that
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performance at the London Premiere two years later a spectator shouted out in
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the middle of the play this is why we lost the
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colonies when estron of the same performance in London asked Vladimir uh
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if he has any rope with which they could hang themselves somebody in the audience yelled for God's sakes give him
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some at the uh opening night of the American Premiere which was of all places in
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Miami uh much of the audience simply left at the
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intermission so let's Jump Ahead um into a very different kind of audience for
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the play this is the 19th of November 1957 this is a story told by Martin Ean
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in his book The Theater of the Absurd so a small group of very worried
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actors 19th of November 1957 are waiting behind a curtain in the
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dining hall at San Quenton penitentiary in California they are about to perform the
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first live play at San Quenton in over 40 years and it is waiting for gato they
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chose it uh mostly because it did not require women actors the difficulty of
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using women actors inside a Maximum Security Prison so the curtain is about to rise
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on an audience that is made up of 1,400 of the toughest men on the
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planet and a young San Francisco theater group is going to perform a highly
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obscure Avant guard French play in which absolutely nothing
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happens a play that when it premiered in for sophisticated theater audiences
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angered and upset them the director Herbert Blau decides
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that he will try to prepare his audience a bit for what's coming the prisoners so he steps from behind the curtain and he
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tells them look what you're about to see is a bit like jazz just listen and take
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from it whatever you can the curtain Parts the play starts
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and according to several witnesses who were there and have written about it 1,400 hardened convicts are riveted in
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their seats and they remain that way throughout the performance of the
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play they get it instantly what had bewildered and and
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angered sophisticated theater audiences made immediate sense to an audience of
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convicts at a Maximum Security Prison
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why why did the prisoners at San Quenton Penitentiary immediately grasp waiting
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for G well one answer perhaps it was because
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the prisoners saw themselves in this play that these are men who knew what it
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meant to wait who knew what it meant to be deprived of everything but
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waiting that's possible but my guess is you could have shown these prisoners a play about waiting that would have
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started a real riot not a theater Riot a prison riot I think the main reason that those
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prisoners identified with this play and why they themselves started a theater troop afterwards to perform becket's
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plays in the prisons is that becket's plays are utterly and
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completely without pretense Samuel Becket did not have for
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all of his reputation as an avangard playright simply did not have a pretentious bone in his body and he
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doesn't have a pretentious word anywhere in his writings it pains me to say this more
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than you will know but that is simply not true of TS Elliot or Virginia wolf imagine reading
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the Wasteland to those prisoners at San Quenton imagine reading to the lighthouse to those
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prisoners one of becket's early characters asks himself this
Laughter or Tears
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question was it to be laughter or tears it came to the same thing in the
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end what I think that means is this that what laughter and tears have in common
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is that they dissolve pretense they cut through
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poses laughter and tears Force us to take off whatever mask it is that we
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happen to be wearing and they leave us exposed you're laughing or you're crying if only for a
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moment getting to that moment when the masks are
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off when everything has been been revealed
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if only for a moment is what drove Samuel Becket as an artist he was repeatedly attracted to characters who
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have been stripped of pretense by age or by
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circumstance if I have my youth or my health or an important job or just a
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nice car it's a lot easier for me to forget that I'm going to die that I was
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born like all of you with my mother rattling the grave in Samuel becket's Unforgettable image but if I've lost all
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of that if I'm homeless or I'm sick or I'm old then very little else is likely to
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matter to me other than the fact of my mortality I am unlikely to worry too
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much about dying Fisher Kings if I'm starving it's the same tactic that was
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used in film by one of becket's loves and that's Charlie
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Chaplain use the use the the man stripped of everything to go beneath
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pose to Essence to get to the core of being to a point where the least
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pretentious the least false is the most true strip everything away from a man
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what's left is the truth because they wrote without
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pretense in an unpretentious language Chaplan and Becket spoke about as close
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to a universal language as it is possible for art to get it's language that is utterly and
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completely stripped of ornament that's why in the 1930s Charlie Chaplan was the most famous man in the
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world uh at his 1931 meeting with Gandhi the crowds were beetles sized and
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they're screaming for Charlie not for Gandhi it's why the little is
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still the most recognized fictional character in the world he doesn't even
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need language and that's why Beckett became a celebrity in the
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1950s and why even today Becket has more fan sites on the internet than any of
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the authors we are looking at in this series almost all of them run by
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amateurs not by professional critics real fans one of them to which I would
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direct your attention just Google waiting for gdau and guinea pigs waiting
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for gdau and guinea pigs it's a performance of waiting for gdau by
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guinea pigs waiting for gato is the most clear
Classical Unities
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the most truthful play that I know the question is not why the
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prisoners at San Quenton saw that or something like it the question is why I
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sophisticated theater audiences people who would go to see a new play an AV
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vantard play at a very small theater by a then largely unknown writer did not
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see that well for Martin esen the likely answer is their
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sophistication that is that unlike those Prisoners the first sophisticated educated audiences of goto came to it
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loaded with expectations about what a play should be
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and do waiting for gato upset those
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expectations and so therefore upset those audiences to an educated audience the
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shock of this play isn't so much that it broke with dramatic convention
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it's more that it threw those conventions in its audience's well educated
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faces for instance waiting for gato actually follows all three of the
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so-called classical unities the three unities for the stage that exist in very fragmented form in Aristotle's Poetics
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and were turned into rules for the theater much later the play follows uses plausibly
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connected actions action is connected to the other the unity of action it takes
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place in a concentrated period of time Aristotle had said merely in passing
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that a action and a play should attempt to confine itself to a single daylight period that became the rule of the unity
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of time which the play follows it takes place in a single
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setting Unity of place but even though the play follows
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those classical unities it follows the rules only to flout the very Spirit of
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the rules traditional drama represents
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action it's what Aristotle said drama is it is the representation of an action goto is about
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inaction it's about waiting for an action that never
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happens probably the most quoted line about this play from an early Irish reviewer Beckett has written a play in
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which nothing happens [Music]
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twice time in this play is not so much concentrated the way the unity is urge
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as it is undifferentiated in this play one moment
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is no different from the next it's all the same suffering it takes place in a sing
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single setting but it is a setting that is almost completely removed from the
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real world it's a place that is nowhere and everywhere at the same
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time so waiting for G follows the unity of action in a play without action it
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follows the unity of time in a play without time and it follows the unity of
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place in a play that is no place in to the lighthouse we still had
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the bones of plot right the West's ancient
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faith that plots like problems have
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resolutions that fathers will say Well done to their sons in waiting for gato the play ends
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exactly as it began both that the first and the second
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act end exactly the same way they end with the words yes let's go and the
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stage Direction they do not move both
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acts time has passed that is what Becket said he meant by the appearance of a few
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leaves on the tree in between the AXS but unlike in Virginia woles to the
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lighthouse the passage of time does not bring any kind of resolution any kind of
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vision the vision that we get in Lily's painting for instance there's no da there's no answer
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no deeper resolution for the characters or for
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us the last page of the play my favorite lines in the play eston I Can't Go on
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like this Vladimir that's what you think but the thing is this go the play
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did did not upset traditional drama so much as it just picked at its
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scabs this was hardly the first play that educated theater audiences would
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have seen to subvert the classical unities it was not even close to the
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first play that they could have seen that would use dialogue that is punctuated by repetition and by silences
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they could have learned all that from check off among others there are some obvious causes for
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the hostility of the plays first audiences things that probably should not be discounted its
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vulgarity it's repetition specific circumstances in the
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different Premiere at the Paris Premiere the actor who played lucky modeled lucky
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after a patient of a friend of his who had Parkinson's disease and apparently it was a very horrifying performance
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that may be part of it in Miami the play was rather mistakenly build as the laugh
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sensation of two continents so audiences didn't get what they expected so there may well be
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specific reasons for these things but I think what really confused
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and angered educated audiences about waiting for GTO is its
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neglect of longstanding and deeply important hierarchies
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between dramatic audiences and their characters this is a play that was and
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is build on the title page as a tragic comedy and tragic comedy is pretty much like what it sounds a hybrid of tragedy
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and comedy comedy traditionally relies on
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its audience's superiority to its characters right our
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laughter from above at all of their silly mistakes the hierarchy of
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comedy tragedy is schizophrenic because on the one hand
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tragedy demands an audience that is inferior to its hero the hero of tragedy
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is the best of his kind a king the higher they come the harder they fall so
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on the one hand they are above us but the audience of tragedy is also
Dramatic irony
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superior to the the hero in one very crucial respect and that is that we know
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something he does not we know the downfall that is going to
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come I edius whom all men call great when the first audiences of that
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play when every audience of that play hears those words they know what edus does not know those lines are deeply
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ironic because we know more than edus does we know what's coming and that's
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called dramatic irony waiting for gato refuses to play
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by the rules of either of its generic parents if you
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feel comedy's superiority to go go and Dei you have seriously misunderstood the
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play and probably yourself none of these characters come
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across as Superior to us and certainly not as the best of their kind and most
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important of all we do not get to watch these characters make their mistakes
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from above them secure in the knowledge that we know more than they do because
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we don't there's no dramatic irony in this play no Superior knowledge for us as
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audience now for an educated theatergoer it is perfectly okay for
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edus the tragic character not to see what is going on not to
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know it's okay that edus can't see or doesn't know that he murdered his father
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that it's him who slept with his mother but the audience has to know that
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in tragedy themselves the reason that we have to know more than the hero does is
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to allow us to experience the cruel pleasure of dramatic irony the certain
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knowledge that you are doomed and I know it but you
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don't that's the pleasure of tragedy and it's a cruel pleasure as nii among
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others have pointed out in waiting for G they did not get
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that they did not get to feel Superior to its characters and that more than anything
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else is I suspect what upset those first educated audiences of
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the play being forced to remain in uncertainty with no better understanding
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of life than that's how it is on this of an earth poso
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line the convicts at San Quenton on the other hand were clearly comfortable with
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that maybe because they had daily evidence that posa was right right that that is indeed how it is on this
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of an earth maybe because they did not feel that they needed to know more about life
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than a couple of tramps Samuel Becket uh was born in
Samuel Beckett
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Dublin Ireland um into a middle class Protestant
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family in 1928 at the age of 22 he moved to Paris uh to take a teaching job job
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and he became close friends with James Joyce Another Irish expatriate in Paris of the time in the late 1920s and 30s uh
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he started writing his first separately published work was actually a parody of
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the Wasteland um a long poem about decart complete with footnotes he wrote an essay on James
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Joyce's ulyses he wrote a book of short stories that was not published until many years
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later his first published novel came out in 1938 it was called
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Murphy he started to make his name in literary circles with Murphy but the
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following year 1939 Hitler invaded Poland and all of that changed Beckett
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joined the French Resistance uh his cell was betrayed to the nais and he fled
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Paris for the south of France where he worked as a farmand and completed another
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novel after the war Becket uh volunteered in a Red Cross Hospital in
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the south of France As an interpreter imagine the stories he must have heard a a great deal of this
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play probably reflects uh post-war rationing in Paris the exchang is about
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carrots and radishes often all there was to eat in postwar Paris always being cold there's no heat
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Becket and Suzanne the woman that became his wife in the apartment they lived in in Paris after the war had no heat so
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they built a tent in the living room and they would wear all their clothes inside the tent while they were writing their clothes are constantly
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worn out it's post-war Paris partly under the influence of
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Joyce um Beckett had begun writing with the sense that writers of his time had
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to find new forms and a new language for a new world that the world had changed
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as it had for Elliott and art had to keep up after the war finding a way to break
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with literary tradition began to seem even more necessary to
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Becket now Joyce as you'll know solved this problem by inventing his own
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language becket's solution was in a way even more radical and just as brilliant
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he switched languages after the war he wrote in French it's partly circumstance uh the
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woman that he hid with in southern France Suzanne who later became his wife did not speak a great deal of
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English but Becket himself said that abandoning the language of English
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literature freed him from the necessity of style it allowed him to give up excess
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color Style all the baggage of the English literary
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style what it did I think was it freed him from the weight of literary
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history his decision to write in French is a kind of willed Amnesia that allowed him to Simply start
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over again to start literary history at zero with
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Becket after the war he wrote several novels and his most famous play anat G
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which he translated into English himself as waiting for gado the play made him famous uh he
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became the name in dramatic and literary circles especially but not only in Paris he won the Nobel Prize in
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1969 refused to attend the ceremony and gave away the prize money to charity and
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to friends this is my favorite photograph of Becka
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he died in 1989 so Becket consciously set about
Cultural Amnesia
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forgetting the past by writing in a foreign language in
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the play that Amnesia seems something that has happened to his characters rather
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than something they chose to do eston cannot remember from day to day
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if they've been here before if they've met each other before if GD has come or not and Vladimir's
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memory is not much better it is a condition that
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afflicts everybody in the play when poo returns in act two he doesn't remember
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meeting Vladimir and eston when the boy returns a little later he doesn't remember Vladimir they
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can't even remember each other's names page 19 estron speaks to
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poso you're not Mr Go sir poo I am Poo
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Poo does that name mean nothing to you I say does that name mean nothing to
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you boo boo poo poo poo ah poo let me
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see poo is it poo or boo I I once to a family called goo the mother had the
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clap the memory loss here is more than just theirs it's cultural Amnesia it's
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not just personal or individual this is something that has happened to this world this
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Society early in the play Vladimir
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says hope deferred maketh the something sick who said
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that well it's from Proverbs that he couldn't remember that is itself not terribly surprising but a few moments
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later Vladimir says to eston did you ever read the Bible eston the
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Bible I must have taken a look at it now you don't re forget reading the Bible
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you've either read it or you've not he can't even remember this book not what is in it it's similar in a way to the
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Wasteland where literature and myth have been emptied of meaning or Shakespeare
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has become just a fragment in a pop song but it's more than that here
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because the Bible is not just in fragments it's been forgotten almost entirely and it's not just religion that
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they have forgotten it's all of it the entire Western inheritance culture
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nature beauty page
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38 this is poo he's explaining the
The Sunset
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Twilight ah yes the night but be a little more attentive for pity's sake
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otherwise we'll never get anywhere look will you look at the sky pig to Lucky
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good that's enough what is there so extraordinary about it qua Sky it is
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pale and luminous like any other sky at this hour of the day in these latitudes when the weather is fine an hour ago
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rough ly after having poured forth even since say 10:00 in the morning
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tirelessly torrant of red and white light it begins to lose its effulgence
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to grow pale pale ever a little paler a little paler
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until finished it comes to rest but but behind this veil of gentleness and peace
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night is charging and will burst upon us like that just when we least
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expected that's how it is on this of an earth Western Art loves the sunset it
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has always loved the sunset this time of day think of the thousands of poems the thousands of paintings the movies that
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end with sunsets it's a time of Peace a time of beauty and Stillness the sunset
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appeals to Art because it is a moment in between times the
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Twilight here it's just an opportunity for a performance it's something to pass
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the time poo says after all of this he says to Vladimir and estron how did you
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find me it's a performance the beauty is gone the meaning forgotten any attempt at
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meaningful speech in waiting for gato is broken fragmented it's more pauses Than
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Words again it's a bit like Elliot's World recall proof fr's complaint that
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it is impossible to say just what I mean but it's much more than that here
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it almost seems painful for becket's characters to
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articulate what they're thinking to speak they stutter they sigh they lapse
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into silence in the absence of any kind of meaningful speech they opt instead for
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nonsense speech page 84
Speech
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War Vladimir speaking to break the silence do you oh pardon carry on no no
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after you no no you first I interrupted you on the
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contrary ceremonious ape pilus Pig finish your phrase I tell you finish
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your own that's the idea let's abuse each
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other Vermin abortion morpion sewer rat curate creton
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critic oh now let's make it up go go Dei your
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hand take it come to my arms your arms my breast off we go how time flies when
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one has fun they play
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games to fill up the time they speak like this as Vladimir
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says so we won't think speak to avoid
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thinking words fill up the silence in the room the women come and go talking
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of Michelangelo using chatter to fill up the Dreadful
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silence and that might be partly why beckon himself moved increasingly
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towards an art without words words one of his later plays is called
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breath uh 1970 the lights come up on a stage that
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is strewn with garbage the audience Hears A Cry and then an
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inhale then they hear an exhale and another
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cry and the lights go out and that's it an entire human life in 40 seconds
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that's how long it takes to stage breath it's a cheap play for the
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actors even if words don't work even if language does not work in this play the
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characters in waiting for go still long to hear the word they're still waiting
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for go despite everything they're staying and they're waiting for him still hoping that something anything at
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all will happen to pass the time page 12 Act
Act 1 Vladimir
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One Vladimir what do we do now ason wait yes
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but while waiting what about hanging ourselves H it'll give us an erection an
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erection with all that follows where it falls man DRS grow that's why they
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shriek when you pull them up did you not know that let's hang ourselves
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immediately it's the same reason He suggests committing suicide
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merely to pass the time and it's the same reason I think that Vladimir keeps
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looking inside his hat there's never been anything in there before but who
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knows maybe this time there will be something in there it's the reason that they so want lucky to speak to pass the
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time but also on the off chance that something meaningful will come out of
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Lucky's mouth but when lucky does speak in his famous and terribly difficult to perform
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monologue all that comes out is gibberish it's half forgotten scholarship fragments of pseudo
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knowledge all of which adds up to absolutely nothing lucky speech is a
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great deal like the Factory scene the factory in Charlie chaplain's modern
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time that that factory in modern times is tremendously busy everybody's busy making something but nobody watching the
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film has any idea what the factory actually makes what the product is it's just noise and machines moving without
33:45
producing anything mostly what Vladimir and estron
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are waiting for is GD who is got well he's the person that V and ason
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are waiting for after Becket won the Nobel Prize he
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got a postcard from a Miss George gado in Paris and he wrote Becket to say how
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sorry he was that he' kept him waiting all these years when uh the director of the first
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American performance of the play asked Beckett who or what go meant Becket said
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if I knew I would have said so in the play now for a great number of readers
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um and audience members godd is God and the fact that he never shows up
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is a comment on The Disappearance of God and religion from the postwar
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world for one of the prisoners at San Quenton go was
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Society for another one of the prisoners go was the outside
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world I think go is a a general symbol in the sense that Virginia Wolf's
35:12
Lighthouse is a general symol that is it does not have a particular symbolic
35:17
reference it means different things to different people to me what gut means is any
35:28
belief system that promises a complete
35:34
explanation God yes but also da also the Sacred Scriptures that Lily
35:41
believes are inside Mrs Ramsey also science anything at all that promises a
35:48
complete explanation or answer to life that's what we're waiting
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for what really matters though in this play I think is not who or what God o is
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it's the fact that we're all waiting forato you see
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action helps us to ignore a time it's easier to ignore the passage
36:15
of time if you're busy if you're pushed about by causality waiting forces us characters
36:24
and audience to confront time to be aware of its passage to remember
36:31
as the play forces you to that we are all born with our mothers as stride the
36:36
grave now we tend to forget this because the secret to life is just to keep on
36:43
going just to keep on doing what we do out of habit if nothing
36:48
else page 104
Existentialism
36:53
Vladimir a stride of a grave and a difficult birth Down in the Hole lingeringly the
37:01
gravedigger puts on the forceps we have time to grow old the air
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is full of our cries but habit is a great
37:13
deadener so Becket himself said much earlier in a book that he wrote on Marcel PR
37:21
1931 habit is the ballast that chains the dog to his vomit
37:28
lovely image breathing is habit life is habit
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rarely does one experience the moment when the boredom of living is replaced
37:42
by the suffering of being that is what Samuel Becket is
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aiming at always Dem did aim at not the dramatization of action of all the
37:55
things that we do out of habit but the dramatization of a condition the
38:02
suffering of being that
38:08
suffering is one reason why this is quite often called an existentialist
38:15
play it says so on the back of the Grove Edition that this is an existentialist play I don't think so at heart I do not
38:23
think this is an existentialist play at all the the basic principle of
38:30
existentialist ethics is that we are what we make of
38:36
ourselves in Jean Paul sra's famous phrase existence precedes essence
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existence predes Essence what is meant here by saying
38:50
that existence precedes essence it means that first of all man
38:56
exists turns up appears on the scene and only afterwards defines
39:04
himself thus there is no human nature since there is no God to conceive it man
39:11
is nothing else but what he makes of himself such is the first principle of
39:19
existentialism but if existence really does precede Essence man is responsible
39:27
for what he is what satcha means is that the only
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person who is responsible for your actions for the life that you make is
39:39
you there is no predetermined path there's no such thing as human
39:46
nature and that is what existentialist angst is the realization that you are
39:51
completely on your own that there is no one else no God but nothing else else
39:57
either to whom you can defer meaning and responsibility for your
40:05
actions waiting for go shares that existential
40:11
angst there is no Superior knowledge for the characters no God for us or the
40:19
characters no answers it's not just that GD never speaks never gives an answer like da or
40:28
well done godd never even shows up so waiting for gdau
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represents something that is very close to the existential Spirit the existential
40:42
condition which is hardly surprising since they both grew out of the same soil and that is occupied
40:50
France but the play is not existentialist if you see the difference
40:57
because it does not share the hope that SRA found in the wreckage and that is
41:05
Humanity's radical freedom to find our own answers to create our own Essences
41:13
to make ourselves early in the play Vladimir
The Thieves
41:20
tells ason a story from the Bible story from the Gospel of Luke
41:25
story about the two thieves Vladimir two thieves crucified at the
41:33
same time as our savior one our what our savior two thieves one is supposed to
41:41
have been saved and the other damned Sav from what hell I'm going he
41:49
does not move and yet how is it this is not boring you I hope how is it that of the
41:56
four evang Angel only one speaks of a thief being saved the four of them were
42:01
there or thereabouts and only one speaks of a thief being saved come on go go return the ball
42:09
can't you once in way I find this really most extraordinarily interesting estron comes back a few
42:16
moments later look the evangelists don't agree and that's all there is to it
42:21
Vladimir but all four were there and only one speaks of a thief being saved
42:28
why believe him rather than the others eston who believes him Vladimir
42:34
everybody it's the only version they know estron people are bloody ignorant
42:39
Apes three different takes on this story okay the classic Christian
42:45
interpretation of the story that you just heard in fragments is by St Augustine St Augustin says that the
42:52
story of the thieves means this do not despair
42:57
one of the thieves was saved do not presume one of the thieves was
43:04
damned that's the lesson for Augustine this story is a lesson in the Wonder and
43:11
the uncertainty of Grace the gift of God's love that you cannot presume but
43:18
you also do not need to despair to an existentialist like satra
43:24
that is nonsense this thief chose to be a thief and that's why he's hanging up there on
43:30
the cross most important to an existentialist there is no mysterious
43:35
Force like Grace deciding in advance our Essence deciding that some of us are
43:42
saved and some of us are damned now what does the story mean to
43:48
go go and Dei not much it is just another story to
43:54
pass the time estron barely cares enough to listen and Vladimir is more
43:59
interested in why only one of the four Apostles tells the story than in why one
44:05
Thief was saved and the other was damned the story simply has no relevance
44:11
to their lives Vladimir even has to struggle to remember what the opposite of Saved is
44:19
he can't remember what damed is eston and Vladimir do not have St
44:26
Augustine faith that there is a meaning behind the Apparently random events of
44:33
life but they also and crucially do not share sra's conviction that they can
44:40
themselves decide that meaning so all they do is suffer and
44:46
play games to fill up the void waiting for go does not show humans
44:55
controlling time freely shaping their own destiny the way
45:00
an existentialist should it shows humans enduring time
45:06
what we're life what we're like I should say when we've got nothing left but time
45:13
which is to say all the time I can't go on like this says
45:21
estron that's what you think says Vladimir that is what
45:27
Theodore adorno said was the only consolation in becket's place the only
45:34
fragment of hope that is left in these plays stoicism toughness
45:41
survival I can't go on like this that's what you think yes you
45:47
can beginning with Martin Ean a very long line excuse me of critics and
45:55
classroom teachers have attempted to diffuse Vladimir's
46:01
bombshell by saying that he and eston are not good
46:07
existentialists that is that this is a critique of them that Vladimir and eston
46:13
are avoiding both the possibility and the responsibility of their freedom in
46:19
sat's terms they are behaving in bad faith but the problem with reading
46:26
Waiting for God as a criticism of its characters existentialist or otherwise is that it
46:33
makes us the audience Superior to those
46:39
characters it makes the play depend on not only what it does not
46:44
have but what it doggedly and determinately rejects and that's
46:50
dramatic irony the giving of more knowledge to us than the characters inside the play
46:59
if the play did endorse existentialism if it was as it is repeatedly claimed to
47:04
be an existentialist play that would mean that one religion one explanation
47:09
has survived and the play is about the loss of all explanations all answers including
47:17
existentialism not just the outdated answers but also the fashionable answers
47:22
that's what I meant by Becket being utterly without pretense that he could turn his back on the fashionable as well
47:29
as the dated waiting for go is not about God
47:36
it's about waiting the first word is the word that matters it's not about answers
47:43
it's about enduring without answers I can't go on like this that's what you
47:51
think these are the last words that Becket ever wrote from the stage um from a play called what where
47:59
1983 time passes that is all make sense who may I switch
48:07
off thank you
==
and ...
YOUTUBE VIDEO
Nick Mount on Samuel Beckett's Waiting for Godot
Intro
Classical Unities
Dramatic irony
Samuel Beckett
Cultural Amnesia
Speech
Act 1 Vladimir
Existentialism
The Thieves
duration 48:13 minutes
https://www.youtube.com/watch?v=1ddsl5nPfAc&list=PLH99V1T9pDs62oXZ4oASmnPcgoA-agp0K&index=1
==