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Journal articles on the topic 'En attendant Godot (Beckett, Samuel)'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Hamdan, Sahira. "Le temps dans “En Attendant Godot" de Samuel Beckett." Al-Adab Journal, no. 129 (June 15, 2019): 1–28. http://dx.doi.org/10.31973/aj.v0i129.583.

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Chez Beckett, l'attente n'est pas un vide mais une efficacité consécutive. Elle pourrait être un acte instinctif ou stérile. Tout cela dépend, peut-être, de la perception de l'attente. Pour Beckett, c'est aussi un monde de vie, une attente de l'inspiration, de la connaissance, de la cognition ou éventuellement de la mort. Le temps tel que l'être humain le conçoit est une création de l'esprit alors que le temps est une entité propre et inchangeable auquel nous ne pouvons échapper. Selon Beckett, nous ne pouvons pas échapper aux conséquences du temps. Pourtant, nous le subissons sans grand

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2

Brown, Llewellyn. "Samuel Beckett et Fyodor Dostoïevski." Samuel Beckett Today / Aujourd'hui 35, no. 2 (2023): 177–91. http://dx.doi.org/10.1163/18757405-03502002.

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Résumé Les liens entre Beckett et Dostoïevski, plus nombreux que supposé précédemment, se manifestent par une série de motifs en commun qui permettent de relire le tournant conduisant de L’Innommable à En attendant Godot. Estragon fait allusion à l’œuvre Carnets du sous-sol, dont le motif éponyme provient du roman de Tchernychevsky Que faire ? Représentant des qualités négatives, il s’agit du lieu de prédilection du personnage de Dostoïevski. C’est aussi le domaine de la voix monologique de L’Innommable, et qu’Estragon désigne rétrospectivement à partir du lieu de stabilité que représente la s

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3

Cohn, Ruby. "THE "F—" STORY." Samuel Beckett Today / Aujourd'hui 7, no. 1 (1998): 41–46. http://dx.doi.org/10.1163/18757405-90000083.

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A short story entitled "F–" was published in the January 15, 1949 issue of the Anglophone, Paris-based review transition. The author is listed as Suzanne Dumesnil (later Mme. Samuel Beckett), but no translator is named. Beckett told his bibliographers Federman and Fletcher that he was "certain" of having translated it. The University of Texas Beckettiana catalogue describes it as: "A short story by Beckett's wife, written at the time Beckett was writing En attendant Godot. The translation is unsigned." (74). Several Beckett scholars suspect that Beckett wrote the story, since it resembles his

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4

Clément, Bruno. "Des harmoniques." Samuel Beckett Today / Aujourd’hui 30, no. 2 (2018): 320–33. http://dx.doi.org/10.1163/18757405-03002011.

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Résumé A partir de deux exemples canoniques (extraits de En attendant Godot et Fin de partie), cet article revient sur les fameux “fundamental sounds” dont parle Samuel Beckett à propos de Fin de partie, et tente de jeter un peu de jour sur la notion d’ harmoniques avec laquelle Beckett entretient un rapport manifestement ambigu.

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5

Saïet, Mathilde. "En attendant…" Cliniques méditerranéennes 109, no. 1 (2024): 235–47. http://dx.doi.org/10.3917/cm.109.0231.

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Ce texte se propose d’interroger les processus psychiques mobilisés chez des sujets placés dans une situation d’attente (d’un hébergement, d’un titre de séjour, d’une solution administrative, etc.). Quels sont les enjeux d’une telle attente pour des individus immobilisés dans un temps suspendu, plongés malgré eux dans l’inaction et le désœuvrement ? Prenant notamment appui sur le texte En attendant Godot de Samuel Beckett, ainsi que sur les développements freudiens concernant la temporalité de l’attente, le texte s’attachera à montrer la détresse qu’engendre une telle attente, qui semble débou

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6

Ben-Zvi, Linda. "Maria Irene Fornes and Samuel Beckett: ‘Different and the Same’." Journal of Beckett Studies 32, no. 1 (2023): 83–100. http://dx.doi.org/10.3366/jobs.2023.0390.

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Maria Irene Fornes is one of the most revered American playwrights. Dramatists she influenced, actors she directed in her plays, students she mentored in her playwriting workshops, as well as academics who taught and published essays and books on her diverse output – over 40 plays in her 40-year career – share Tony Kushner’s assessment that ‘‘America has produced no dramatist of greater importance’. Born in Havana, Cuba in 1930, Fornes came to New York in 1945, and by the early 1960s, she was a central force in the establishment of the Off-Off Broadway avant-garde movement in Greenwich Village

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7

Doshi, Neil. "Written in Sand." Samuel Beckett Today / Aujourd’hui 31, no. 2 (2019): 234–49. http://dx.doi.org/10.1163/18757405-03102004.

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Abstract This article reinterprets the Algerian writer Mohammed Dib’s 1992 novel Le désert sans détour through the analysis of its reference to Samuel Beckett’s En attendant Godot. I argue that for Dib, Beckett offers an important model for a post-revolutionary politics that expresses extreme skepticism over clichéd notions of historical progress and universal humanism. Recuperating this ignored Beckettian strand in Dib’s novel, I revise the critical reception that has read the text as apolitical and focused on spirituality. I offer a better understanding of Dib’s aesthetic as one emerging out

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8

KNOWLSON, J. "Review. 'En attendant Godot' and 'Fin de partie'. Little, J. P., Samuel Beckett." French Studies 39, no. 2 (1985): 233. http://dx.doi.org/10.1093/fs/39.2.233.

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9

Andrade, Fábio de Souza. "Em busca da "despalavra": tradução e apresentação do <i>Triângulo Medieval</i>, de Samuel Beckett." Literatura e Sociedade 30, no. 39 (2024): 187–92. http://dx.doi.org/10.11606/issn.2237-1184.v0i39p185-192.

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Antes de firmar-se como um dos maiores autores de teatro no século XX, o jovem Beckett ensaiou, em língua alemã, nos anos 1930, uma adaptação cênica do canto inicial de Orlando Furioso, de Ariosto. Incompleta, a obra carrega as marcas da “literatura da despalavra” beckettiana em seus estágios iniciais de formulação e antecipa os impasses e procedimentos que, amadurecidos em peças como En Attendant Godot e Fin de Partie, o tornaram uma referência incontornável do modernismo tardio europeu.

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10

Nunes, Paula Ávila. "O tradutor como função enunciativa." Domínios de Lingu@gem 5, no. 3 (2012): 52–73. http://dx.doi.org/10.14393/dl11-v5n3a2011-5.

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Este trabalho realiza a análise de um estudo de caso de autotradução. Dado que, nesse tipo de processo tradutório, a figura do autor e do tradutor parecem se fundir em uma só, o objetivo é evidenciar como essa sobreposição pode ser analisada enunciativamente, através das marcas textuais contidas tanto no texto original quanto no texto traduzido. Para tanto, toma-se um dos trabalhos de um conhecido autotradutor - Samuel Beckett - como corpus, a saber, En attendant Godot (1949), e sua autotradução, Waiting for Godot (1953). O cotejo entre ambas deve permitir tecer algumas considerações sobre com

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11

Germoni, Karine. "PONCTUATION ET RYTHME DANS EN ATTENDANT GODOT ET FIN DE PARTIE DE SAMUEL BECKETT." Samuel Beckett Today / Aujourd'hui 14, no. 1 (2004): 547–62. http://dx.doi.org/10.1163/18757405-90000211.

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12

Bénard, Julie. "En attendant Godot (1952) de Samuel Beckett et Gerry (2002) de Gus Van Sant au prisme de Gilles Deleuze." Samuel Beckett Today / Aujourd'hui 35, no. 2 (2023): 209–23. http://dx.doi.org/10.1163/18757405-03502005.

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Résumé Alors que la première représentation publique d’En attendant Godot s’inscrit dans un contexte d’après-guerre, Gerry de Gus Van Sant voyait le jour au tournant du XXe et XXIe siècles. Si les deux œuvres partagent les mêmes thématiques, c’est leur esthétique qui les rapproche en reposant sur un même principe : l’épuisement. Tout comme Gilles Deleuze qui déterminait dans son essai “L’Épuisé” (1992) trois sortes d’épuisements chez Beckett, Fabien Boully en identifie également trois chez le cinéaste. Cet article propose de faire dialoguer les deux œuvres à l’étude autour de l’épuisement du l

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13

McMullan, Anna. "Barthes, Beckett and the Theatre: Three Dialogues." Paragraph 45, no. 2 (2022): 172–86. http://dx.doi.org/10.3366/para.2022.0395.

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Although Roland Barthes never wrote a play, ‘theatre’ or related terms such as ‘scenario’ or ‘theatricality’ recur throughout his oeuvre from the 1950s to the late 1970s. He wrote many reviews of theatre, but theatre and performance also became integral to much of the theoretical concerns of his later work. During this same period, Samuel Beckett’s dramaturgy was evolving from his first full-length play, Eleutheria, to the later ‘dramaticules’ such as Not I, which premiered in 1973. Barthes did comment on Beckett a few times in his theatre criticism, mainly in relation to En attendant Godot or

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14

Xiaoyan, Liang, Wang Kailun, and Dominic Glynn. "Translating and publishing French theatre in China." Francosphères: Volume 10, Issue 2 10, no. 2 (2021): 225–43. http://dx.doi.org/10.3828/franc.2021.16.

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This article examines transformations in the literary translation environment in the People’s Republic of China (PRC) specifically in relation to French-language theatre. After an initial survey of literary translation in the PRC from its foundation to the present, the article studies how French-language plays have been translated and adapted for publication. In particular, it considers how French theatre has occupied a favoured position in the Chinese translation literary system over the past four decades. It then focuses on three emblematic cases, those of Molière, Jean-Paul Sartre, and Samu

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15

Rannoux, Catherine. "« Dis, Didi », variations sur dire dans En attendant Godot de Samuel Beckett." L'Information Grammaticale 124, no. 1 (2010): 42–46. http://dx.doi.org/10.3406/igram.2010.4080.

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16

Travis, Charles. "Acts of Perception: Samuel Becket, Time, Space and the Digital Literary Atlas of Ireland, 1922–1949." International Journal of Humanities and Arts Computing 9, no. 2 (2015): 219–41. http://dx.doi.org/10.3366/ijhac.2015.0150.

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Situated in the wake of the first and second waves of the Digital Humanities, the Digital Literary Atlas of Ireland, 1922–1949 website provides interactive mapping and timeline features for academics and members of the public who are interested in the intersection of Irish literary culture, history, and environment. The site hosts Google Earth software produced interfaces with the EXHIBIT Timeline functions made available by the Semantic Interoperability of Metadata and Information in unLike Environments (SIMILE) project, developed and hosted by the Massachusetts Institute of Technology's (MIT

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17

Álvarez Jurado, Manuela, and Lorena Pérez Geijo. "La relevancia de la retraducción en obras teatrales. El caso de En attendant Godot." Estudios de Traducción 15 (June 20, 2025): 67–76. https://doi.org/10.5209/estr.98858.

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La retraducción es el proceso de traducir la totalidad o una parte de un texto que ya había sido previamente traducido. Así, se consigue adaptar una obra al mundo y a la sociedad contemporánea, creando una versión más natural y cercana. Esto es de especial relevancia en el caso del género dramático, pues el teatro hace uso de la oralidad en mayor medida que los otros géneros literarios. Escrita por Samuel Beckett, Esperando a Godot es una obra del Teatro del Absurdo que se estrenó en 1952. A pesar de que no ha pasado tanto tiempo desde su publicación, contamos con cinco traducciones al español

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18

Saïet, Mathilde. "Le temps perdu de l’attente." Revue française de psychosomatique 64, no. 2 (2023): 171–83. http://dx.doi.org/10.3917/rfps.064.0171.

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Il s’agit d’interroger ici la « situation d’impasse » (Sami-Ali) dans laquelle sont parfois placés les sujets « en attente » (« sans-papiers », « migrants », « demandeurs d’asile », etc.) et les conséquences d’une telle attente sur les processus psychiques et, en particulier, sur l’organisation de la temporalité. Cette attente, qui s’allonge comme à l’infini, entraînant désœuvrement et enlisement dans un quotidien marqué par la répétition, immobilise en effet le sujet dans un temps suspendu qui semble profondément altérer les processus de temporalisation. Les conceptualisations freudiennes con

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19

이정옥. "Etude sur le théâtre de l'absurde de Samuel Beckett - à travers le thème chrétien dans En attendant Godot -." ASSOCIATION CULTURELLE FRANC0-COREENNE ll, no. 17 (2008): 185–207. http://dx.doi.org/10.18022/acfco.2008..17.008.

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20

Juliusson, Carl Magnus. "Litteraturens mest mänskliga fågel." Tidskrift för litteraturvetenskap 45, no. 4 (2015): 43–53. http://dx.doi.org/10.54797/tfl.v45i4.8938.

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Literature’s Most Human Bird: Beckett and His Parrots. Perhaps more so than any other animal, the parrot has achieved a unique status as a cultural symbol and cliché in Western literature. Ever since its first introduction in Europe by Alexander the Great, the parrot’s ability to imitate human language has been a never-ending source of fascination for human society. In literature, the talking parrot has always evoked the question of what it means to be human, reminding us of the painful possibility that language and thought might be merely a product of mindless imitation, and thus of no

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21

Uwah, Godwin Okebaram. "Waiting and Disenchantment : Kourouma’s ‘Les Soleils des Independances’ and Oupoh’s ‘En Attendant la Liberte’." Afrika Focus 3, no. 1-2 (1987): 65–80. http://dx.doi.org/10.1163/2031356x-0030102004.

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Like Samuel Beckett’s characters in En attendant Godot, the protagonists of Ahmadou Kourouma’s Les Soleils des Independances and Gnaoule Oupoh’s En Attendant la Liberte wait for something to happen to change their lives. As they wait, they ascribe to the object of waiting an absolute certainty translated in terms of recognition, realization of the promises of independence, continuity of dynasty, freedom, and other good life-values. Ultimately, disenchantment displaces hope; the object of waiting eludes them and their general condition either worsens or, at best, remains static. Paradoxically,

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22

Roche, Anthony. "The Making of Samuel Beckett's ‘Waiting for Godot’/‘En Attendant Godot’, by Dirk van Hulle and Pim Verhulst; The Making of Samuel Beckett's ‘Endgame’/‘Fin de Partie’, by Dirk van Hulle and Shane Weller." Translation and Literature 28, no. 1 (2019): 119–26. http://dx.doi.org/10.3366/tal.2019.0375.

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23

Friedman, Alan W. "The Making of Samuel Beckett's "En Attendant Godot"/"Waiting for Godot" by Dirk Van Hulle and Pim Verhulst, and: The Making of Samuel Beckett's "Fin de Partie"/"Endgame" by Dirk Van Hulle and Shane Weller." James Joyce Quarterly 56, no. 1-2 (2019): 196–99. http://dx.doi.org/10.1353/jjq.2019.0037.

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24

Hubert, Marie-Claude. "Perspective historique sur les mises en scène de Beckett en France." Samuel Beckett Today / Aujourd’hui 33, no. 2 (2021): 179–91. http://dx.doi.org/10.1163/18757405-03302003.

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Résumé Héritiers du Cartel1, Roger Blin et Pierre Chabert, ces deux créateurs de l’ œuvre de Beckett, ont toujours affirmé leur volonté de fidélité. Au début, les premiers metteurs en scène se situent dans cet héritage, tel Maréchal (Fin de partie 1972). Au cours de la décennie 80-90, trois metteurs en scène, Krejca (En attendant Godot 1978), Bourdet (Fin de partie 1988), Jouanneau (En attendant Godot 1991) qui s’ affranchissent des didascalies, apportent des interprétations nouvelles et préparent par leurs audaces les spectacles que nous offre la scène du XXIe siècle, ceux de Wiseman (Oh les

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25

Simpson, Hannah. "Trying Again, Failing Again: Samuel Beckett and the Sequel Play." New Theatre Quarterly 37, no. 3 (2021): 258–72. http://dx.doi.org/10.1017/s0266464x21000166.

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Samuel Beckett’s Waiting for Godot has spawned several unauthorized sequel plays, which see Godot arrive on stage in 1960s Yugoslavia, 1980s Ireland, 1990s North America, and early 2000s Japan. The sequel play is a largely ignored phenomenon in literary scholarship, with the sequel form itself routinely dismissed as a derivative and inevitably disappointing text. Yet the sequel also re-situates and re-evaluates the original text, and its reiterative nature aptly parallels the paradox of non-ending in Beckett’s original Waiting for Godot. Focusing on four unauthorized stage sequels to Beckett’s

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26

Rodríguez Zamora, José Miguel. "Esperando a Godot, todavía..." ESCENA. Revista de las artes 77, no. 2 (2018): 99. http://dx.doi.org/10.15517/es.v77i2.32143.

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Este artículo revisa la relación que existe entre la obra de Samuel Beckett, Esperando a Godot, con el contexto filosófico. El llamado teatro del absurdo representa el sentir de una época determinada, pero Beckett consigue traspasar los límites del tiempo para crear una obra de importancia universal con un profundo significado para nuestros días.

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27

Alin Ambarwati, Seli Mauludani, Siti Masitoh, Kurnia Dewi Nurfadilah, and Irawan Syarifuddin Daher. "Kajian Intertekstual Drama Mega-Mega Karya Arifin C. Noer dan Waiting For Godot Karya Samuel Beckett." VISA: Journal of Vision and Ideas 5, no. 1 (2025): 560–76. https://doi.org/10.47467/visa.v5i1.1139.

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The research focuses on an intertextual review of the play Mega-mega script by Arifin C. Noer and Waiting for Godot by Samuel Beckett. Interesting things that can be highlighted from the drama mega by Arifin C. Noer and Waiting for Godot by Samuel Beckett is a type of text that is absurd and there are parallel motives related to the rapture of urban community problems in waiting for a life change. The purpose of this research is to find out the structure of play script; and know relationship the intertextuality between the script of Arifin C. Noer's Mega-mega drama and Samuel Beckett's Waiting

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28

Adel Bader, Dr Murthadha. "Truth in Samuel Becket’s “Waiting for Godot”." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 13, no. 02 (2023): 726–34. http://dx.doi.org/10.37648/ijrssh.v13i02.060.

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Waiting for Godot is a play by Samuel Beckett in which two characters, Vladimir (Didi) and Estragon (Gogo), engage in a variety of discussions and encounters while awaiting the titular Godot, who never arrives. Waiting for Godot is a play driven by a lack of truth in other words, uncertainty. Characters are unable to act in any meaningful way and claim this is because they are uncertain of the consequences. Without the presence of objective truth, every statement is brought into question, and even common labels (color, time, names) become arbitrary and subjective. In Waiting for Godot, Beckett

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29

Gontarski, Stanley. "A Cabinet of Curiosities: Bad Godots and Lucky’s Brain Science." Dramaturgias, no. 22 (April 29, 2023): 423–61. http://dx.doi.org/10.26512/dramaturgias22.48298.

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Um dos maiores especialistas em Samuel Beckett, professor Stanley Gontarski, da Florida State University, discute as relações entre arte e ciência a partir dos experimentos dramáticos de Beckett, especialmente Esperando Godot.

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30

Pinczés, István. "A korlátozott időtartamú egzisztálás abszurditásának elviselése." Debreceni Szemle 33, no. 1 (2025): 9–22. https://doi.org/10.59424/debreceniszemle/2025/33/1/9-22.

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Absztrakt: Samuel Beckett: Godot-ra várva című művének színrevitelére készülő rendező összehasonlítja a hiteles francia és angol szerzői szöveget, elemzi az angol változat kultúrtörténeti motívumait, elkészíti az angol szöveg magyarra fordítását, és kísérletet tesz az összetett Godot-szimbólum értelmezésére

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31

McMullan, Anna, and Trish McTighe. "Samuel Beckett and Irish Scenography." Irish University Review 45, no. 1 (2015): 141–56. http://dx.doi.org/10.3366/iur.2015.0157.

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This essay offers some glimpses of the parallel histories of Beckett and Irish scenography, and explores how they have impacted on each other. In particular, we investigate the intersections between Beckett and theatre in Dublin in the 1920s and 1930s, considering whether the staging innovations of the Dublin theatres of Beckett's formative years helped to shape his scenographic imagination. We then focus on Louis le Brocquy's designs for the Gate Theatre production of Waiting for Godot in 1988, which went on to constitute the core of their Beckett Festival, launched in 1991, with various revi

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32

Wachacz, Aleksandra. "Samuel Beckett and his Immigrants." Tekstualia 4, no. 51 (2017): 87–94. http://dx.doi.org/10.5604/01.3001.0013.3555.

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The long tradition of canonical interpretations of Samuel Beckett’s plays puts in front two exceptional productions of Waiting for Godot, individual in their character. Both of them seem to realize the directors’ ideas about French culture and highlight its specifi c aspects. They are anchored in the history of France and respond to a recent interest in studying Beckett’s Irishness and its infl uence on his writing as well as are indebted to literary-historical, manuscript or archive-based studies. At the same time, they also exemplify how directors modify texts in order to present their inter

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33

Farrell, Mary. "Beckett, Bion and waiting for God." Ata: Journal of Psychotherapy Aotearoa New Zealand 12, no. 1 (2006): 8–17. http://dx.doi.org/10.9791/ajpanz.2006.02.

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   In 1948, Samuel Beckett's famous existential theatre masterpiece, 'Waiting for Godot' was written. This paper will make links between the dialogue in the play and Beckett's analytic work with the young Wilfred Bion in the early 1930s. The paper will be illustrated by extracts from the recent film version of 'Waiting for Godot'. Reference will be made to Bion's paper 'Attacks on Linking', showing the relevance of his ideas to Beckett's life history and to a patient whose persistent rejection of interpretation has characterised our work together.  

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34

Souza, Ayanne Larissa Almeida. "A circularidade trágica em Esperando Godot, de Samuel Beckett." Revista Letras Raras 9, no. 1 (2020): 55. http://dx.doi.org/10.35572/rlr.v1i9.1513.

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O presente artigo objetiva investigar o trágico na peça Esperando Godot, do escritor irlandês Samuel Beckett. Através de nossa análise, propomo-nos examinar de que maneira podemos compreender o trágico enquanto uma estrutura de sentir, termo cunhado por Raymond Williams (2002; 2011). O trágico, percebido sob o conceito de Williams, passa a ser visto como uma convenção geracional de características que, em uma determinada época, são consideradas enquanto uma estrutura de sentimento do trágico. Nesse sentido, buscaremos demonstrar que na obra de Beckett encontramos um sentir trágico que se expre

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35

วิวัฒน์ศร, วัลยา. "แซมมวล เบกเกตต์ : คอยโกโดต์ (Samuel Beckett: Waiting for Godot)". Journal of Letters 28, № 1 (1999): 102–11. http://dx.doi.org/10.58837/chula.jletters.28.1.7.

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36

Furlani, Andre. "The making of Samuel Beckett’s En attendant Godot/Waiting for Godot." Irish Studies Review 27, no. 1 (2019): 153–56. http://dx.doi.org/10.1080/09670882.2018.1555396.

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37

Fajar, Yusri. "Identity Construction In Samuel Beckett’s Waiting For Godot." ATAVISME 16, no. 2 (2013): 129–40. http://dx.doi.org/10.24257/atavisme.v16i2.88.129-140.

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This paper scrutinizes the formation of the identity of the characters in Samuel Beckett’s famous play Waiting for Godot. One of the characters whose identity is constructed is Godot, a mysterious absent figure. The other characters, such as Vladimir and Estragon actively construct Godot’s identity. Thus, the formation of identity cannot be separated from the social construction in which a lot of characteristics are attributed by the members of the large community. The theory of identity elaborated by Stuart Hall and Erikson is employed to examine the play. The study shows that Godot and other

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38

Phelan, Peggy. "Lessons in Blindness from Samuel Beckett." PMLA/Publications of the Modern Language Association of America 119, no. 5 (2004): 1279–88. http://dx.doi.org/10.1632/s0030812900101749.

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Reading samuel beckett made me want to link literary and visual studies, although when i first began to love his work, I did not understand that these were different disciplines. A graduate student in the English department at Rutgers University, I read Waiting for Godot while sitting on the floor of my dorm room. I remember really squinting at the pages, trying both to read every word of the play and to see it on a stage in my mind. When I finished, I was convinced I had read the dialogue to a painting. What confused me was whether the painting existed before the play or whether Beckett was t

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Irianto, Adhy Pratama, Benny Yohanes Timmerman, and Sukmawati Saleh. "Minimalist Art and the Iconization of Trees in Waiting for Godot." PANTUN: Jurnal Ilmiah Seni Budaya 9, no. 1 (2024): 1. http://dx.doi.org/10.26742/pantun.v9i1.3273.

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The minimization of performance art is aimed at presenting human darkness and innocence in a philosophical interpretation. This is what Samuel Beckett presented in his 1953 performance Waiting for Godot. Art minimization makes the number of props less, but is able to visualize the desired thematic of the script. This minimalism, which is supposed to display simplicity, becomes more “luxurious” due to the presence of iconic things from absurd performances. In the midst of the minimalist, gloomy, and arid decorations in Waiting for Godot, the tree becomes the center of attention. This tree becom

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Martins, Gilberto Figueiredo. "Susan e Samuel em Sarajevo –." Revista Cerrados 27, no. 46 (2018): 44–68. http://dx.doi.org/10.26512/cerrados.v27i46.19660.

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O artigo apresenta informações históricas e comentários críticos sobre um espetáculo encenado há vinte e cinco anos, na Europa, em meio a um cenário de guerra. Trata-se de Esperando Godot, peça do irlandês Samuel Beckett (1906-1989), sob direção da intelectual estadunidense Susan Sontag (1933-2004), que decidiu apresentar sua montagem na cidade multiétnica de Sarajevo, capital que em 1993 vivia sob estado de sítio, sofrendo ataques dos sérvios, durante a guerra da Bósnia (1992-1995). A experiência, levada a cabo com elenco local e em temporada exclusiva, foi posteriormente registrada e avaliad

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Andrade, Fábio De Souza. "A espera manca e a biblioteca aberta: Samuel Beckett e Carpeaux." Teresa, no. 20 (April 1, 2020): 210–20. http://dx.doi.org/10.11606/issn.2447-8997.teresa.2020.156567.

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Quando da publicação da primeira edição de sua História da literatura ocidental (1959), redigida em meados dos anos 1940, Carpeaux reviu o texto original da obra para considerar a figura de Samuel Beckett, autor central no século XX, cuja peça mais conhecida, Esperando Godot, acabara de estrear. Anos depois, em 1976, o crítico tornou a se ocupar do dramaturgo irlandês, publicando uma análise de Godot na revista Manchete. Como esse encontro em dois tempos, entre o crítico/historiador e o romancista/dramaturgo, pode revelar aspectos da natureza de seus projetos autorais e dos contextos diversos,

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Anishchenko, Marina Gennadievna. "Scenic birth of “Waiting for Godot” by Samuel Beckett." Journal of Flm Arts and Film Studies 4, no. 4 (2012): 66–77. http://dx.doi.org/10.17816/vgik4466-77.

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The phenomenon of the genesis of the new drama and new theatrical direction in France of the 1950s is investigated in the article. Also is given the characteristic of the first “ Waiting for Godot” set staged by Roger Blin. The new scenic admission, presenting innovative character of Beckett’s play is commented on in the text.

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Berezutskaya, K. A., A. S. Zhukovskaya, and S. G. Nikolaev. "Biblical Allusions "In Waiting for Godot" by Samuel Beckett." Higher School Companion, no. 3 (2022): 13–20. http://dx.doi.org/10.55346/27825647_2022_3_13.

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Genetti, Stefano. "Samuel Beckett, Les Années Godot. Lettres II 1941-1956." Studi Francesi, no. 180 (LX | III) (December 1, 2016): 563–64. http://dx.doi.org/10.4000/studifrancesi.5427.

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Ackerley, Chris. "Samuel Beckett and the Mathematics of Salvation." Samuel Beckett Today / Aujourd’hui 33, no. 1 (2021): 15–29. http://dx.doi.org/10.1163/18757405-03301002.

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Abstract One of the thieves was saved .… If, as Vladimir concludes at the outset of Waiting for Godot, “It’s a reasonable percentage,” then why not accept Pascal’s celebrated exhortation to believe, rather than to risk in the afterlife the terrors of the abyss or the inferno? This essay traces Beckett’s use of the motif of the two thieves with respect to the truism of Credo quia absurdum est, as manifest in the calculus that underlies the Monadology of Leibniz and informs Beckett’s writing from Murphy to How It Is, and his sense of the self as something that is/was neither One nor Zero.

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Knowlson, James. "„Godot, love and loss”." Tekstualia 4, no. 55 (2019): 11–44. http://dx.doi.org/10.5604/01.3001.0013.3463.

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This is the fi rst Polish translation of the full chapter of the only authorized biography of Samuel Beckett entitled Damned to Fame (originally published in English in 1996). The text concentrates on the publication details of Waiting for Godot and Beckett’s private life in the early 1950s. For example, the details concerning building the house in Ussy sur Marne in 1953 are revealed and Beckett’s cooperation with the magazine „Nouvelle revue française” and the publishing house „Merlin” is discussed. On private ground, the origins of Beckett’s intimate relationship with Pamela Mitchell are of

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Cao, Bo. "The Chinese Translation of Samuel Beckett: A Critical History." Irish University Review 51, no. 2 (2021): 282–95. http://dx.doi.org/10.3366/iur.2021.0519.

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In light of the relevant merits and defects of translation practice over sixty years, this article presents a critical history of the Chinese translation of the work of Samuel Beckett. The article argues that the history may be divided into two periods: the pre-1980 period and the post-1980 period, with China's reopening to the outside world in the late 1970s as the watershed. The first period is dominated by the politically propelled translation of Waiting for Godot and harsh criticism of Beckett as a ‘decadent’ author. The second period, characterized by a more complex aesthetic response, ma

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Rothenberg, John, and Hubert de Phalese. "Beckett a la lettre: 'En attendant godot', 'Fin de partie'." Modern Language Review 95, no. 3 (2000): 849. http://dx.doi.org/10.2307/3735559.

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FERREIRA DA SILVA, RIVALDO. "WHAT ARE WE WAITING FOR?" Open Minds International Journal 4, no. 2 (2023): 160–64. http://dx.doi.org/10.47180/omij.v4i2.211.

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The purpose of this Essay is to compare the main themes of Waiting for Godot and our lives during this long period of Pandemic. During the development of this research, I am going to try to explore (i) the context of the play Waiting for Godot by Samuel Beckett; (ii) the context of our new routine; (iii) provide an analysis/comparison about the search for the self. As we see in the play Waiting for Godot, we, as humans, are always waiting for something; sometimes, we create expectations and want answers for everything, but in some cases, answers can’t be said or even find.

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Bhattacharjee, Aparajita. "Study of Samuel Beckett with a New Perspective." VEETHIKA-An International Interdisciplinary Research Journal 9, no. 3 (2023): 16–19. http://dx.doi.org/10.48001/veethika.2023.09.03.004.

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The term ’absurdity’ is very much attached with the playwright, Samuel Beckett of the 1950s. It is a state of mind where nothing is concrete; everything is hazy and fluid. That type of mental make-up is made mainly due to a vacuum created in the socio-political and cultural arena after the World War II and culminated into a concrete shape in the fifties. In the field of theatre Samuel Beckett for the first time exposed the absurd situation of human beings on the stage. Though apparently he is tagged as an absurd dramatist, a question always peeps in the mind of the readers. Should he rightly b

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