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If Krapps tragedy is that of an old man whose choices have led him only to a lonely conversation with himself, Wilsons joy is in sharing and discussing his work. To play the silence and to have the humour is to play Beckett, he tells me, and places the scribbled-on boarding pass on the black-clothed table in front of us to demonstrate. I can put a black dress on the black table but if I put the white card on the black, it makes black blacker, he says. It makes the dark darker.

When youre playing King Lear you have to have a little humour or you will have no tragedy when the king dies. Wilson smiles: The light is essential for the darkness. This article was amended on 24 February to correct the name of Krapps Last Tape in the standfirst. Read Free For 30 Days. Robert Wilson - Guardian Interview. Description: An interview with theatre director Robert Wilson. Flag for inappropriate content. Related titles.

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Diego Estrada. His atheism correlates with that ambiguously expressed. He doesnt exist 55! The case of the madman is, as Hamm says, not so unusual since the appalling conditions he describes, once limited to the mans insanity, are now the reality of the characters in the play. Looking out the windows at the earth and sea, Clov reports: Zero zero and zero 29 , Corpsed In his garden, seeds wont sprout He says only slightly exaggerating , Theres no more nature Hamm says, Outside of here its death 9.

The vision of the madman has proved prophetic.


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And we have killed him. After Hamm says that God doesnt exist! Clov says, Not yet The notion of a God not-yet existing balances Nietzsches notion of God once-existing but now dead: both deny Gods essential attribute of eternal life.

After Nietzsches madman declares God dead, he relates the consequences of this momentous event. As in Becketts play, these are ecological and apocalyptic, though Nietzsches is also cosmological. As in Becketts play, only the madman can see them: How could we drink up the sea? Who gave us the sponge to wipe away the entire horizon?

What were we doing when we unchained this earth from its sun? Whither is it moving now? Whither are we moving? Away from all suns? Are we not plunging continuously?

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Backwards, sideways, forward, in all directions? Is there still any up or down? Are we not straying through an infinite nothing?

Theatre and Language: Samuel Beckett, 'Waiting for Godot' - Professor Belinda Jack

Do we not feel the breath of empty space? Has it not become colder?

Is not night continually closing in on us? So far, the madmen of Nietzsche and Beckett are in close agreementtheir visions corresponding closely to the future as experienced by Hamm and Clov, for whom the land and the sea are waste. After expressing his vision of desolation, Nietzsches madman becomes optimistic: Must we ourselves not become gods simply to appear worthy of it? There has never been a greater deed; and whoever is born after usfor the sake of this deed he will belong to a higher history than all history hitherto Later in the book, in a section entitled The meaning of our cheerfulness, Nietzsche continues: the consequences of.

For Beckett, Gods non-existence is not the occasion for the joyful freedom. His characters everywhere implicitly deny Nietzschean optimism as farcical delusion. Absence of God is the absence of meaning and precludes real or lasting happiness. In Beckett, all that is left to Godless humanity is absurdity and despair, which Hamm fearfully, habitually and, for the audience, unsuccessfully attempts to keep at bay through generating dialogue, enacting familiar routines, asking the same questions and giving the same answers 5 , and retelling and extending a little his narrative Clov says, life is a farce, day after day Hamm says crying is proof of living If nature has left us, nevertheless, Something is taking its course 13 , and that can only mean, we change!

We lose our hair, our teeth! Our bloom! Our ideals 11!