等待戈多展示ppt-資料下載頁
2025-01-03 00:09本頁面
【正文】 ver, the characters have switched lines from the previous act, suggesting that ultimately, despite their differences, Vladimir and Estragon are really interchangeable after all. With the arrival of Pozzo and Lucky in each act, we notice that even though their physical appearance has theoretically changed, outwardly they seem the same。 they are still tied together on an endless journey to an unknown place to rendezvous with a nameless person. Likewise, the Boy Messenger, while theoretically different, brings the exact same message: Mr. Godot will not e today, but he will surely e tomorrow. Finally, and most important, there are the larger concepts: first, the suffering of the tramps。 second, their attempts, however futile, to pass time。 third, their attempts to part, and, ultimately, their incessant waiting for Godot — all these make the two acts clearly repetitive, circular in structure, and the fact that these repetitions are so obvious in the play is Beckett39。s manner of breaking away from the traditional play and of asserting the uniqueness of his own circular structure. Beckett’s dramatic works don’t reply to the traditional elements of drama. For Beckett, language is useless。 he creates a mythical universe peopled by lonely creatures who struggle vainly to express the inexpressible. Beckett’s attitude towards language Beckett’s work is defined by the consciousness that words are incapable of expressing the inner self and by the simultaneous acceptance of the fact that language is intrinsic to the human situation and thus not a removable element. Beckett regards language as constitutive of the identity of the self。 it is on this conviction that his despair for the human condition and the power of his writing depend. His attitude towards language is the paradoxical acceptance of selfrefutation as the condition for any artistic practice。 a recognition of the inherent inability of words to correspond to anything other than themselves together with the potentiality of expressing this very inability to express. His choice of dramatic speech as the fundamental level of action, rather than its subordination to gestures, movements and setting, is therefore far more plicated than at first it seems to be. Beckett feels that the domain of the writerplaywright is that of a form which creates meaning through its struggle to express meaning. He does not, therefore, resort to the formalistic demand for an art synonymous with form, but rather attempts to solve the problem of their relation by preserving the dialectic. Thank You
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