Pirandellism and Samuel Beckett's Plays
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BeschreibungThorough presentation of Pirandello's concepts of drama, reality, stage innovation, and parallels with the theater of Samuel Beckett.
Inhaltsverzeichnis1;Contents;8 2;Preface;10 3;Introduction;12 4;Chapter One: PIRANDELLO AND PIRANDELLISM;17 4.1;Pirandellism as Critical Term;21 4.2;Drama, Reality, and Stage Innovation;22 4.3;Pirandello and Beckett Parallel;25 5;Chapter Two: PIRANDELLO AND BECKETT: ESTHETIC RELEVANCE;31 5.1;On Humor and Proust;31 5.2;The Mirror Image;39 5.3;Feeling of the Opposite;46 6;Chapter Three: DRAMATURGICAL FRAMEWORK;53 6.1;Characterization;53 6.2;Play-within-a Play;59 6.3;Form-Content and Artistic Enterprise;62 6.4;Dramaturgical differentiation;68 7;Chapter Four: THE UNREALITY OF THE REAL;75 7.1;Philosophical Formulations;76 7.2;Absence of Logic;80 7.3;Epistemological Incertitude;83 7.4;Fragmenting Wholeness/Elusive Meaning;87 7.5;Multiple and Disintegrating Personality;94 7.6;Real or Unreal?;103 8;Chapter Five: COMEDY OF SURFACE APPEARANCE;105 8.1;Incongruity;107 8.2;Tedium of Existence;116 8.3;Vita-Forma Conflict;120 9;Conclusion;132 10;Index;139 10.1;A;139 10.2;B;139 10.3;C;140 10.4;D;140 10.5;E;140 10.6;F;140 10.7;G;141 10.8;H;141 10.9;I;141 10.10;J;141 10.11;K;141 10.12;L;141 10.13;M;142 10.14;N;142 10.15;O;142 10.16;P;142 10.17;R;143 10.18;S;143 10.19;T;143 10.20;V;143 10.21;W;144 10.22;Y;144 10.23;Z;144
LeseprobeIntroduction (p. 3)
The overwhelming amount and degree of sophistication of Beckett criticism in recent years make it necessary to justify another book on Beckett. My main reason for this study is to examine a dimensión that has not been fully explored, namely, the Pirandellian categories in Beckett`s plays. Some authors have of course specifically mentioned Beckett as one of the heirs to the Pirandellian heritage.
Robert Brustein, for example, says that Pirandello`s insights into the human personality and suffering anticípate Beckett. Thomas Bishop identifies a bond between the absurdity in Pirandello`s works and Beckett`s visión of life, and sees both authors sharing a deep pity and compassion for suffering humanity. In his doctoral dissertation ("Pirandello, Umurismo, and Beckett"), Charles Gattnig tries to establish a relationship between the two playwrights. Although his account is well researched, Gattnig`s primary focus is Pirandello`s concept of humor.
Valerie Topsfield has also mentioned Beckett as a beneficiary of Pirandello`s sense of the opposites. The purpose of this study is to pursue and explore in some detall and with new insight a relationship known to exist between Pirandello`s esthetics and Beckett`s dramatic works.
Pertinent questions to ask, in this respect, in- elude the following: Who is Pirandello? What kind of impact has his writing made on modern drama? To what extent have his personal experience, his cultural formation, and the literary climate of his time shaped and sustained his esthetic thinking or Pirandellism? What is Pirandellism? What are the Pirandello and Beckett parallels?
Are there some biographical coincidences or similarities? Are there influences or just an "accord of ideas"? Is any of them heir to any given philosopical tradition? What relationship exists between their work and the idea of irreality? How do specific Pirandellian categories (Pirandelli
sm) relate to the specific Beckett plays? What is the nature of the relationship that exists? In what ways and for what reasons are there disimilarities?
In attempting to answer these questions, I shall attempt to explore and establish a Pirandello-Beckett dramaturgical framework. I shall then relate Pirandello`s major and representative works (the principal source of Pirandellism as a critical term) to the specific major and representative works of Beckett in order to establish their validity and relevance.
The purpose of so relating Priandellism to Beckett`s works is not to stake a claim for the "influence" of Pirandello on Beckett but to seek a relationship where one exists. The analysis will focus primarily on the following works: Sei personaggi in cerca d`autore and Enrice IV, by Pirandello, and En Attendant Godot and Fin de partie, by Beckett. Other works by both authors will be used as secondary materials to expand and clarify the discussion.
The decisión to confine myself to well known and most representative works of the two dramatists is rather arbitrary. However, this confine would be a safe and manageable territory given the volume of work each of the playwrights has produced.
It is possible that Beckett`s later works (some of which are discussed here) have more elements of Pirandellism in them than the earlier works, and it is also possible that some of the less known Pirandellian plays can fit easily into the Beckettian orbit or vice versa. These matters could be the subject of further research.
Untertitel: Sprache: Englisch. Dateigröße in MByte: 6.
Erscheinungsdatum: Januar 1989
Seitenanzahl: 147 Seiten
Format: pdf eBook
Kopierschutz: Adobe DRM