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|標題:||The Minimalist Language and Space in Samuel Beckett's Endgame|
In his Theater of the Absurd, Samuel Beckett's use of minimalism is a brilliant and profound technique to present the poetic images on the stage. Instead of traditional narrative form, Beckett explores human condition by means of minimalism -- a technique in which the playwright reduces all the elements on the stage into their essential beings. Without articulating his purpose and the meaning he wants to express, Beckett presents only what the audience sees on the stage. The first chapter is an introduction which discusses what minimalism is, how it works in Beckett's theater, and how the use of minimalism in Beckett's Endgame leads to the state of emptiness. The second chapter is a discussion about how Beckett reduces language into its simplest way of use in Endgame. With the reduction of language to the simple words, simple sentence, sound, or even silence, Beckett explores much more meaning related to human existence than what the traditional narrative form can express. For Beckett, this reduction of language leads both his characters and his audience into a state of emptiness. The third chapter focuses on the discussion of the reduction of stage images in Endgame such as stage lighting, the body images of characters, the action of waiting and storytelling, etc. Beckett reduces his stage elements into a sense of poetic image, which for him is a way to emptiness as well as what the reduced language does. The fourth chapter is focused on the storytelling as a stage image. In Endgame the stories themselves told by the characters are reduced to an endless repetition of human action, and the storytelling itself is reduced to a state of soliloquy where there is no need of accompany or listener. This isolated image of human icon as a poetic image gives Beckett's audience a sense of irresistible loneliness in this empty world.
|Appears in Collections:||外國語文學系所|
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