1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46
Clov: |
||||||||
I didn't understand.30 |
||||||||
Clov has a specific interpretation of Nell's text that is localized to Clov's situation, but it doesn't dispel the sense that there is more. Something which defies understanding is passed on along with what is understood. obvious ambiguity of the word "thing" can be exploited here to refer to everything from this very moment in the theatre with these two actors, to all of existence throughout all time. The challenge in playing it became finding a way to open this door as widely as possible without losing the specificity of the theatrical moment, and Hamm's frustration with Clov's inability to understand the unspeakable. |
||||||||
the razor edge of meaning vs non-meaning, Beckett's humor began to emerge in an entirely new light for me. Indeed the play itself began to seem like a massive prank by Mr. Beckett. I began to see Beckett as being acutely aware of the audience's experience in watching the play. about the evening. These range from the expectation of ribald entertainment to the expectation of intellectual stimulation/interest, and philosophical/poetic fulfillment. Given the nature and impact of WAITING FOR GODOT, all of these are reasonable expectations for Beckett's audience. What they are confronted with however, is a rather steep hill to climb with a rather irritating, blind, chair-bound man and an apparent half-wit slave. The most pleasant characters, who have been |
||||||||
![]() |