Samuel BeckettSamuel Beckett

Krapp's Last TapeKrapp's Last Tape

Samuel (Barclay) Beckett Samuel (Barclay) Beckett (1906-1989)(1906-1989)

Irish novelist and playwright, one of the great names Irish novelist and playwright, one of the great names of Absurd Theatre with Eugéne Ionesco, although of Absurd Theatre with Eugéne Ionesco, although recent study regards Beckett as postmodernist. His recent study regards Beckett as postmodernist. His plays are concerned with human suffering and plays are concerned with human suffering and survival, and his characters are struggling with survival, and his characters are struggling with meaninglessness and the world of the Nothing. meaninglessness and the world of the Nothing. Beckett was awarded the Nobel Prize for Literature in Beckett was awarded the Nobel Prize for Literature in 1969. In his writings for the theater Beckett showed 1969. In his writings for the theater Beckett showed influence of burlesque, vaudeville, the music hall, influence of burlesque, vaudeville, the music hall, commedia dell'arte, and the silent-film style of such commedia dell'arte, and the silent-film style of such figures as Keaton and Chaplin.figures as Keaton and Chaplin.

Samuel Beckett was born in Dublin into a prosperous Samuel Beckett was born in Dublin into a prosperous Protestant family.Protestant family.

His father: William Beckett Jr.; his mother: Marry Roe;His father: William Beckett Jr.; his mother: Marry Roe; He was educated at the Portora Royal School and Trinity He was educated at the Portora Royal School and Trinity

College, DublinCollege, Dublin Beckett worked as a teacher in Belfast and lecturer in Beckett worked as a teacher in Belfast and lecturer in

English at the École Normale Supérieure in Paris. During English at the École Normale Supérieure in Paris. During this time he became a friend of this time he became a friend of James Joyce.James Joyce.

In 1931 Beckett returned to Dublin.In 1931 Beckett returned to Dublin. After his father died, Beckett received an annuity that After his father died, Beckett received an annuity that

enabled him to settle in London, where he underwent enabled him to settle in London, where he underwent psychoanalysis (1935-36).psychoanalysis (1935-36).

In 1961 he married Suzanne Dechevaux-DumesnilIn 1961 he married Suzanne Dechevaux-Dumesnil In 1969 Beckett won the Nobel Prize, Suzanne commented: In 1969 Beckett won the Nobel Prize, Suzanne commented:

"This is a catastrophe." Beckett refused to attend the Nobel "This is a catastrophe." Beckett refused to attend the Nobel ceremony.ceremony.

Beckett has remained a categorical rift, giving the lie Beckett has remained a categorical rift, giving the lie to categories.to categories.

Hugh Kenner and Irving Howe have called Hugh Kenner and Irving Howe have called Beckett the “Last Modernist”; but. for different Beckett the “Last Modernist”; but. for different reason, David Lodge called Beckett “the first reason, David Lodge called Beckett “the first important postmodernist write”, and Ihab Hassan important postmodernist write”, and Ihab Hassan suggested the publication date of suggested the publication date of MurphyMurphy (1938) as a (1938) as a beginning date for postmodernism.beginning date for postmodernism.

For Gilles Deleuze and Felix Guattari, Beckett has For Gilles Deleuze and Felix Guattari, Beckett has exemplified concepts as “schizophrenic disjunction,” exemplified concepts as “schizophrenic disjunction,” “schizoid sequences,” and “territorial assemblages.”“schizoid sequences,” and “territorial assemblages.”

The modernist BeckettThe modernist Beckett

he follows the modernist frame of mind he follows the modernist frame of mind he uses the modernist terms, which were “opposition” and he uses the modernist terms, which were “opposition” and

“resistance”“resistance” Self-resistance = recollection by inventionSelf-resistance = recollection by invention Steven Connor: “clothed” and “naked” repetitionSteven Connor: “clothed” and “naked” repetition Beckett raised to a new level the oppositional character of Beckett raised to a new level the oppositional character of

classical modernismclassical modernism Victorianism tropes:Victorianism tropes: The trope itself, in Beckett’s hands, is yet another element that The trope itself, in Beckett’s hands, is yet another element that

participates in the complex web of resistances by invention. participates in the complex web of resistances by invention. The textual history of the trope is closely bound up with that The textual history of the trope is closely bound up with that of the dead metaphor of progress. of the dead metaphor of progress.

In In Krapp’s Last Tape Krapp’s Last Tape the tropes:the tropes: The forwardness of time is played off against The forwardness of time is played off against

an insistent drive backward and inward; an insistent drive backward and inward; The play aligns the quest backward in the time The play aligns the quest backward in the time

with Krapp’s male drive;with Krapp’s male drive; Counter version of tropeCounter version of trope: “my face in her : “my face in her

breasts and my hand on her. We lay there breasts and my hand on her. We lay there without moving. But under us all moved, and without moving. But under us all moved, and moved us, gently, up and down, and from side moved us, gently, up and down, and from side to side”;to side”;

Beckett is keeping our attention on the trope and Beckett is keeping our attention on the trope and having us experience something of its infinitive having us experience something of its infinitive variability. → Deleuze’s metaphor—“clothed” or variability. → Deleuze’s metaphor—“clothed” or “masked” repetition; → There is, in fact, nothing “masked” repetition; → There is, in fact, nothing under the trope.→ great flexibilityunder the trope.→ great flexibility

Plotlesness:Plotlesness: Godot, Endgame, Krapp, Godot, Endgame, Krapp, andand Happy Happy DaysDays were plays in which nothing really happens were plays in which nothing really happens at all.at all.

→ → Beckett’s method of recollection by invention, Beckett’s method of recollection by invention, in its refinement of modernist opposition, is the in its refinement of modernist opposition, is the continual and vigorous reconstruction of continual and vigorous reconstruction of tropological emptiness.tropological emptiness.

In.: Abbott, Porter: Beckett writing Beckett: In.: Abbott, Porter: Beckett writing Beckett: the author in the autograph. Beckett and the author in the autograph. Beckett and PostmodernismPostmodernism

Theatre of the Absurd Theatre of the Absurd -- ??? -- ???

Martin Esslin: the term should be Martin Esslin: the term should be treated “as a kind of intellectual treated “as a kind of intellectual shorthand for a complex pattern of shorthand for a complex pattern of similarities in approach, method, similarities in approach, method, and convention, of shared and convention, of shared philosophical and artistic premises, philosophical and artistic premises, whether conscious or subconscious, whether conscious or subconscious, and of influences from a common and of influences from a common store of tradition”store of tradition”

they often start at an arbitrary point and seem they often start at an arbitrary point and seem to end just as arbitrarilyto end just as arbitrarily

they usually have no clear identifiable conflict, they usually have no clear identifiable conflict, no plot and they not even intend to tell a storyno plot and they not even intend to tell a story

timelessness, circularitytimelessness, circularity the characters are static, isolated, motionless; the characters are static, isolated, motionless;

the internal state is represented through the the internal state is represented through the external imagesexternal images

communication often fails and dialogue seems communication often fails and dialogue seems to have degenerated into meaningless babbleto have degenerated into meaningless babble

critique of the languagecritique of the language the situation of the play is staticthe situation of the play is static express a sense of shock at the absence, the express a sense of shock at the absence, the

loss of any such clear and well-defined systems loss of any such clear and well-defined systems of beliefs or valuesof beliefs or values

Esslin: “All assurances of hope, all Esslin: “All assurances of hope, all explanations of ultimate meaning explanations of ultimate meaning have suddenly been unmasked as have suddenly been unmasked as nonsensical illusions, empty chatter, nonsensical illusions, empty chatter, whistling in the dark.”whistling in the dark.”

““The challenge behind the absurd drama is a The challenge behind the absurd drama is a challenge to accept the human condition as it is, challenge to accept the human condition as it is, in all its mystery and absurdity, and to bear it in all its mystery and absurdity, and to bear it with dignity, nobly, responsibly; with dignity, nobly, responsibly; precisely precisely becausebecause there are no easy solutions to  there are no easy solutions to the mysteries of existence, because ultimately the mysteries of existence, because ultimately man is alone in a meaningless world. The man is alone in a meaningless world. The shedding of easy solutions, of comforting shedding of easy solutions, of comforting illusions, may be painful, but it leaves behind it illusions, may be painful, but it leaves behind it a sense of freedom and relief. And that is why, a sense of freedom and relief. And that is why, in the last resort, the Theatre of the Absurd in the last resort, the Theatre of the Absurd does not provoke tears of despair but the does not provoke tears of despair but the laughter of liberation.” (Esslin)laughter of liberation.” (Esslin)

Krapp’s Last TapeKrapp’s Last Tape Title:Title: ambiguity: ambiguity:

‘‘the last one, before the last one, before death, a final tape’ death, a final tape’

vs. vs.

‘‘the most recent’the most recent’

Name:Name: Krapp – crapKrapp – crap

crap = nonsense, crap = nonsense, stupidity, shitstupidity, shit

Ambiguity of the title Ambiguity of the title thought of deaththought of death

ambiguity: “Krapp’s ambiguity: “Krapp’s LastLast Tape” Tape”

69 years old, “69 years old, “White face. Purple nose. Disordered grey White face. Purple nose. Disordered grey hair…hair… Very near-sighted… Hard of hearing.Very near-sighted… Hard of hearing. Cracked Cracked voice. Distinctive intonation.voice. Distinctive intonation. Laborious walk.” Laborious walk.”

““Perhaps my best years are gone. When there was a Perhaps my best years are gone. When there was a chance of happiness. But I wouldn't want them back. Not chance of happiness. But I wouldn't want them back. Not with the fire in me now.” with the fire in me now.”

““What's a year now? The sour cud and the iron stool.”What's a year now? The sour cud and the iron stool.”

“ “ Here I end –“ !Here I end –“ !

TimeTime ““A late evening in the future.”A late evening in the future.” Krapp’s sixty-ninth birthday Krapp’s sixty-ninth birthday multiplicity of time levels:multiplicity of time levels:

““future”future” past 1 (39 years old) past 1 (39 years old) past 2 (late past 2 (late twenties)twenties)

““future” - future” - the the present present of the playof the play time measuring: time measuring:

Krapp (looks at his watch 3 times) Krapp (looks at his watch 3 times) Beckett (Beckett (“ten seconds”, “fifteen seconds”“ten seconds”, “fifteen seconds”))

waiting for midnightwaiting for midnight

Modern dramaModern drama the tape - a modern, technological object the tape - a modern, technological object ““A late evening in the A late evening in the futurefuture.”.” one characterone character no traditional plotno traditional plot

1. structure1. structure Mono-drama or duo-drama?Mono-drama or duo-drama? Why drama?Why drama?

2. rhythm2. rhythm enumerationenumeration repetition → time; circularityrepetition → time; circularity

3. fragmented 3. fragmented 4. shift of light and darkness4. shift of light and darkness

remains a moment motionless, heaves a great sigh, looks remains a moment motionless, heaves a great sigh, looks at his watch, fumbles in his pocket, takes out an envelope, at his watch, fumbles in his pocket, takes out an envelope, puts it back, fumbles, takes out a small bunch of keys, puts it back, fumbles, takes out a small bunch of keys, raises it to his eyes, chooses a key, gets up and moves to raises it to his eyes, chooses a key, gets up and moves to front of table. He stoops, unlocks first drawer, peers into front of table. He stoops, unlocks first drawer, peers into it, feels about inside, takes out a reel of tape, peers at it, it, feels about inside, takes out a reel of tape, peers at it, puts it back, locks drawer, peers into it, feels about inside puts it back, locks drawer, peers into it, feels about inside it, takes out a large banana, peers at it, locks drawer, it, takes out a large banana, peers at it, locks drawer, puts keys back in his pocket. (215)puts keys back in his pocket. (215)

the part played three times on tape: I lay down across her the part played three times on tape: I lay down across her with my face in her breasts and my hand on her. We lay with my face in her breasts and my hand on her. We lay there without moving. But under us all moved, and moved there without moving. But under us all moved, and moved us, gently, up an down, and from side to side. (221)us, gently, up an down, and from side to side. (221)

... goes backstage into darkness. Ten ... goes backstage into darkness. Ten seconds. Pop of cork. Ten seconds. Second seconds. Pop of cork. Ten seconds. Second cork. Ten seconds. Third cork. Ten seconds. cork. Ten seconds. Third cork. Ten seconds. Brief burst of quavering song. (219)Brief burst of quavering song. (219)

... goes backstage into darkness. Ten ... goes backstage into darkness. Ten seconds. Pop of cork. Ten seconds. Second seconds. Pop of cork. Ten seconds. Second cork. Ten seconds. Third cork. Ten seconds. cork. Ten seconds. Third cork. Ten seconds. Brief burst of quavering song. (219)Brief burst of quavering song. (219)

[[Krapp switches off impatiently, winds tape forward, switches on Krapp switches off impatiently, winds tape forward, switches on againagain]--great granite rocks the foam flying up in the light of the ]--great granite rocks the foam flying up in the light of the lighthouse and the wind-gauge spinning like a propeller, clear to lighthouse and the wind-gauge spinning like a propeller, clear to me at last that the dark I have always struggled to keep under is me at last that the dark I have always struggled to keep under is in reality—[in reality—[Krapp curses, switches off, winds tape forward, Krapp curses, switches off, winds tape forward, switches on againswitches on again]--unshatterable association until my ]--unshatterable association until my dissolution of storm and night with the light of the understanding dissolution of storm and night with the light of the understanding and the fire—[and the fire—[Krapp curses loader, switches off, winds tape Krapp curses loader, switches off, winds tape forward, switches on againforward, switches on again]--my face in her breasts and my hand ]--my face in her breasts and my hand on her. We lay there without moving. But under us all moved, on her. We lay there without moving. But under us all moved, and moved us, gently, up and down, and from side to side.and moved us, gently, up and down, and from side to side.

Pause.Pause. Past midnight. Never knew such silence. The earth might be Past midnight. Never knew such silence. The earth might be

uninhabited.uninhabited. Pause.Pause. Here I end--Here I end-- [Krapp switches off, winds tape back, switches on again.][Krapp switches off, winds tape back, switches on again.] Krapp’s movement seems to lack continuity:Krapp’s movement seems to lack continuity: Hard of bearing. [...] Laborious walk. (220)Hard of bearing. [...] Laborious walk. (220)

With all this darkness round me I feel less With all this darkness round me I feel less alone. [Pause.] In a way. [Pause.] I love to get alone. [Pause.] In a way. [Pause.] I love to get up and move about in it, then back here to... up and move about in it, then back here to... [hesitates]... me. [Pause.] Krapp. (217)[hesitates]... me. [Pause.] Krapp. (217)

RememberingRemembering ““Hm . . . The black ball . . . (Hm . . . The black ball . . . (He raises his He raises his

head, stares blankly front. Puzzled.head, stares blankly front. Puzzled.) Black ) Black ball? . . . (ball? . . . (He peers again at ledger, reads.He peers again at ledger, reads.) ) The dark nurse . . . (The dark nurse . . . (He raises his head, He raises his head, broods, peers again at ledger, reads.broods, peers again at ledger, reads.)”)”

““Equinox, memorable equinox. (Equinox, memorable equinox. (He raises his He raises his head, stares blankly front. Puzzled.head, stares blankly front. Puzzled.) ) Memorable equinox? . . . (Memorable equinox? . . . (Pause. He shrugs Pause. He shrugs his shoulders, peers again at ledger, reads.his shoulders, peers again at ledger, reads.)”)”

The act of listeningThe act of listening ““assumes assumes listening listening

postureposture, i.e. , i.e. leaning foreward, leaning foreward, elbows on table, elbows on table, hand cupping ear hand cupping ear towards machine, towards machine, face front.”face front.”, , “resumes his “resumes his listening posture.” listening posture.”

““listening listening posture”posture”

Motionless, meditating, Motionless, meditating, puzzled, carewornpuzzled, careworn

““staring vacuously before him” staring vacuously before him” ““staring front.”staring front.” ““Krapp motionless staring before him. The Krapp motionless staring before him. The

tape runs on in silence.” - tape runs on in silence.” - the end of the playthe end of the play ““stares blankly front. Puzzled.” stares blankly front. Puzzled.” ““meditatively eating banana.”meditatively eating banana.” ““remains a moment motionless” remains a moment motionless” ““great sigh”, great sigh”, “sighing”“sighing”

The younger/”the other” The younger/”the other” Krapp Krapp

““ah! the little rascal!”ah! the little rascal!”

““ah! the little scoundrel!”ah! the little scoundrel!”

““Just been listening to that stupid bastard I Just been listening to that stupid bastard I took myself for thirty years ago, hard to took myself for thirty years ago, hard to believe I was ever as bad as that.”believe I was ever as bad as that.”

difficulty in understanding the younger Krappdifficulty in understanding the younger Krapp

SexualitySexuality ““I lay down across her with my face in her breasts and I lay down across her with my face in her breasts and

my hand on her. We lay there without moving. But under my hand on her. We lay there without moving. But under us all moved, and moved us, gently, up and down, and us all moved, and moved us, gently, up and down, and from side to side.” from side to side.”

““Fanny came in a couple of times. Bony old ghost of a Fanny came in a couple of times. Bony old ghost of a whore”whore”

fanny = buttfanny = butt ““The last time wasn't so bad.”The last time wasn't so bad.” ““How do you manage it, she said, at your age? I told her How do you manage it, she said, at your age? I told her

I'd been saving up for her all my life.”I'd been saving up for her all my life.” ““Be again on Croghan on a Sunday morning, in the haze, Be again on Croghan on a Sunday morning, in the haze,

with the bitch… Lie down across her.”with the bitch… Lie down across her.” ““Let me in”Let me in”

LanguageLanguage Beckett was obsessed by a desire to create Beckett was obsessed by a desire to create

what he called "a literature of the what he called "a literature of the unword."unword." ““WINNIE: Win! (Pause.) Oh this is a happy day, WINNIE: Win! (Pause.) Oh this is a happy day,

this will have been another happy day! (Pause.) this will have been another happy day! (Pause.) After all. (Pause.) So far.”  After all. (Pause.) So far.”  ((Happy DaysHappy Days, 1961), 1961)

““TAPE: With all this darkness round me I TAPE: With all this darkness round me I feel less alone. [feel less alone. [Pause.Pause.] In a way. [] In a way. [Pause.Pause.] I love ] I love to get up and move about in it, then back here to get up and move about in it, then back here to … [to … [hesitateshesitates] … me. [] … me. [Pause.Pause.] Krapp. [] Krapp. [Pause.Pause.] ] ””

In Krapp’s Last Tape Beckett returned to his In Krapp’s Last Tape Beckett returned to his native language.native language.

Waiting for GodotWaiting for Godot

““Nothing ever finishes, and everything begins Nothing ever finishes, and everything begins again.” again.”

ESTRAGON:ESTRAGON: Well, shall we go?Well, shall we go? VLADIMIR:VLADIMIR: Yes, let's go.Yes, let's go. They do not move.They do not move.

ESTRAGON:ESTRAGON: I'm going.I'm going. He does not move.He does not move.

VLADIMIR:VLADIMIR: I'll give it to him.I'll give it to him. He does not move.He does not move. .............. VLADIMIR:VLADIMIR: I'll give it to him.I'll give it to him. He picks up the hat and tenders it at arm's length to He picks up the hat and tenders it at arm's length to

Lucky, who does not move.Lucky, who does not move. ................ VLADIMIR:VLADIMIR: I'll put it on his head.I'll put it on his head. He goes round behind Lucky, approaches him He goes round behind Lucky, approaches him

cautiously, puts the hat on his head and recoils cautiously, puts the hat on his head and recoils smartly. Lucky does not move. Silence.smartly. Lucky does not move. Silence.

P: What time is it?P: What time is it? V: (inspecting the sky). Seven o’clock... V: (inspecting the sky). Seven o’clock...

eight o’clock...eight o’clock... E: That depends what time of the year it is.E: That depends what time of the year it is. P: Is it evening?P: Is it evening? Silence. V. and E. scrutinize the sunset.Silence. V. and E. scrutinize the sunset. E: It’s rising.E: It’s rising. V: Impossible.V: Impossible. E: Perhaps it’s the dawn. E: Perhaps it’s the dawn.

V: We’ll hang ourselves tomorrow. V: We’ll hang ourselves tomorrow. (Pause.) Unless Godot comes.(Pause.) Unless Godot comes.

E: ... Let’s go.E: ... Let’s go. V: We can’t.V: We can’t. E: Why not?E: Why not? V: We’re waiting for Godot. (5)V: We’re waiting for Godot. (5) E: Don’t let’s do anything. It’s safer. E: Don’t let’s do anything. It’s safer.

(9) (9)

““Have just eaten Have just eaten I regret to say I regret to say three bananas three bananas and only with and only with difficulty difficulty restrained a restrained a fourth. Fatal fourth. Fatal things for a man things for a man with my with my condition.”condition.”

locked in the locked in the drawersdrawers

““bends his ear closer to the machinebends his ear closer to the machine””

““staring vacuously before him”staring vacuously before him”

““switches off, wrenches off tape, switches off, wrenches off tape, throws it away”throws it away”

““he peers at he peers at the ledger”the ledger”

““Sound of Sound of bottle bottle against against glass”glass”

““a number of a number of cardboard cardboard boxes boxes containing reels containing reels of recorded of recorded tapes.tapes.““

““stares blankly front. Puzzled.”stares blankly front. Puzzled.”

““Table and Table and immediately immediately adjacent adjacent area in area in strong white strong white light. Rest of light. Rest of stage in stage in darkness.darkness.””

““Krapp motionless staring before him. The tape runs Krapp motionless staring before him. The tape runs on in silence.on in silence.““