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Endgame (Anglais) Broché – 30 janvier 2006


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Détails sur le produit

  • Broché: 64 pages
  • Editeur : Faber & Faber (30 janvier 2006)
  • Langue : Anglais
  • ISBN-10: 0571229174
  • ISBN-13: 978-0571229178
  • Dimensions du produit: 12,6 x 0,6 x 19,8 cm
  • Moyenne des commentaires client : 4.3 étoiles sur 5  Voir tous les commentaires (3 commentaires client)
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Format: Broché
This play is mythical for some but it has a less eschatological meaning than "Waiting for Godot". It is more locked up in an individual personality. As much as "Waiting for Godot" could have been seen as deeply schizophrenic, "Endgame" is psychotic, a psychotic vision of the isolated individual in some kind of more than self-centered, in fact self-locked psyche, locked onto himself by himself. And of course we remain in a, obsessively male-dominated world.

There are officially four characters. But in fact two are really active. In the dustbins you have Nagg the father and Nell the mother of Hamm, a crippled and blind individual who is more or less the father of Clov who is his slave, younger, physically active though entirely dependent but maybe not forever.

The room in which these characters exist is a miniature of the psychology of a person who is completely cut off from the world. This person is Hamm. We are inside his brain. For him the world is dead, though he is the one who is a living dead since he is crippled, i.e. unable to move, and blind, i.e. unable to see. He has to be moved around and someone has to see for him and tell him what can be seen. The room has an outside kitchen, an extension that is not the outside world but that is reachable only to one character, Clov who goes to it now and then, though it is the Arlésienne of the play, the one utem you speak if constantly but never see.

Hamm henceforth asks his son Clov to check the world through windows that are too high for direct vision, built too high since windows don't grow on houses that don't grow naturally in the earth, hence purposely positioned too high.
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1 internautes sur 2 ont trouvé ce commentaire utile  L'évaluation d'un enfant sur 30 juillet 2009
Format: Broché
la préface complète de façon intéressante l'éd de 2006, mais j'attendais le texte avec notes de mise en scène de Beckett annoncé sur la première publicité du site amazon (maintenant rectifié) - en fait une page de carnet en fac simile. Too bad...
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0 internautes sur 1 ont trouvé ce commentaire utile  Par Paul de Senquisse sur 7 juillet 2005
Format: Broché
Bel exemple de théâtre de l'absurde, la pièce de Beckett (présentée originalement sous le titre "fin de partie") fait partie des incontournables de l'auteur.
Allégorie de la mort, les personnages s'effacent pour ne devenir plus que des concepts, ou des mémoires... Enorme constraste entre le thème très dûr de la pièce et l'optimisme cru qui pourtant s'en dégage après une analyse poussée. A découvrir.
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24 internautes sur 27 ont trouvé ce commentaire utile 
Beckett at his maddening best 4 septembre 1999
Par Un client - Publié sur Amazon.com
Format: Broché
I am no literary critic, but after reading Waiting for Godot, I sought more of his works. Beckett smashes everyday reality with a sledgehammer, wrecking the fantasy of social reality as we know it. The pointless circular conversations between Hamm and Clov are pathetic, useless, and point to the madness we engage in everyday, living in our own self created fantasies. We try to communicate with others , but in a sense we are only inflicting our own psychosis on each other, selfishly engaging in social ritual for some kind of perverse gratification. Of course this is only one take on life, only one way of viewing it. And like Elutheria and Godot, it is a dark vision. But to confront the deepest anxiety and emptiness within, a dark path is the only road to follow. Act Without Words is the first mime I have ever read. Seemingly simple, it also attempts to paint a picture of the futility and hoplessness of life, everything the mime reaches for he can never get, always tantilizingly out of reach. So with satisfaction and everything else in life it is always just over the horizon. Although others have interpreted this sense of need in other ways, sometimes more positively, Beckett shows it in an aweful light, leaving the reader with an empty yearning for something that can never be satisfied.
11 internautes sur 12 ont trouvé ce commentaire utile 
Two very different poles of Beckett's art. 31 janvier 2001
Par darragh o'donoghue - Publié sur Amazon.com
Format: Relié
'endgame' is one of Beckett's most famous works, generally considered to be his theatrical masterpiece, as a master and servant fight it out at the end of the world in somebody's decaying head. Despite some very gallows humour, this is the Beckett aesthetic at its bleakest.
'Act Without Words' is very different. The philosophy may be familiar - man's struggles to survive in a world powered by unseen, malevolent, sadistic forces - but this is treated almost (self?) parodically. The play's main interest lies in its form. Throughout his career, Beckett has been paring down his language to the limits of concision - here he finally abandons it, giving us a mime more than a little influenced by the slapstick silent cinema that has always fuelled his work. I guess this is genuinely a case where you have to see it to appreciate it, but I had fun imagining proto-Beckett Buster Keaton in the role.
8 internautes sur 10 ont trouvé ce commentaire utile 
From Oedipus to Lear to Hamm--the blind man's procession 31 juillet 1998
Par Un client - Publié sur Amazon.com
Format: Broché
In "King Lear" Shakespeare asked far more questions than he could answer, and by the end of the play little was resolved: unfit leaders would perpetuate the march of folly. Shakespeare's work followed many themes from "Oedipus" and both spoke to the ethos of their times. If any twentieth century play deserves to be considered the heir to "Oedipus" and "Lear" then Beckett's "Endgame" should rank right along with the other two. In Beckett's finest theatrical work, he places a blind man in Job's world, but in this case there is no answer from the heavens; instead Hamm, Clov, Nagg and Nell have to invent their own worlds, reconstructing the past and deconstructing themselves while Beckett himself reconstructs and deconstructs theater. One line best sums up the play and provides probably the best motto for the twentieth century: "the end is in the beginning and yet you go on." Many have seen this play as a dar! k Kafkaesque nighmare, but I see it as a true existential affirmation of what Camus saw as acting in good faith--choosing to play the game and go on with life even though there is little reason to play on.
17 internautes sur 23 ont trouvé ce commentaire utile 
Epitomy of the Theatre of the Absurd.......to the extreme. 2 mai 1997
Par Un client - Publié sur Amazon.com
Format: Broché
What the audience is met with is full-blown confusion. Thefirst scene opens with a brief tableau, a frozen frame depicting thetwo main character Clov and Hamm, the latter confined to a chair and the other dressed in shabby clothes, face expressionless, standing and looking into the audience. Beckett intends for the audience to be shocked and to be left unrestful. Beckett wrote Endgame to illustrate human suffering and the meaninglessness of routine. People who are not courageous enough to experience anything other than the monotony of life, people who lack any imagination and creativity. It is the extent of unfeelingness and total oblivion of emotions that detaches the characters in the play from what we may perceive as "realistic". On the first reading, one may be put off entirely by the repetitive questions and actions but with a closer second reading, the quality of Beckett's dramatic technique becomes palpable. Beckett's ingenuity of writing a play devoid of a plot shows that a dramamtist is not always bound to plot as most people assume. Anyway, here is a quote from the play to consider: "All life long the same questions, the same answers..........have you not have enough of this..this...this thing?"
1 internautes sur 1 ont trouvé ce commentaire utile 
Absurd yet Compelling 22 janvier 2010
Par JustinWrites - Publié sur Amazon.com
Format: Broché
Beckett's second play "Endgame," translated from French by his own hand into English, is a vision of the world at its end. It focuses on the few surviving human beings who are themselves facing mortality; the betrayal they face from their own bodies as their physical forms break down and the end of life becomes imminent. I freely admit that I didn't understand everything Beckett was doing in the play, with fragmentation, repetition, extensive pauses within the dialogue, and allegorical referencing. I looked into educated sources on the play and found that there are allusions to the death of Christ and to Dante's "Inferno," which upon reflection become clearer to me now. I also recognized allusions of my own, particularly the parallels between the slave-son Clov and Prospero's savage servant Caliban: Clov's relationship to his father-owner Hamm is more forgiving and less vile than that between the two men in Shakespeare's "The Tempest," but the similarities are definitely there. Specifically, the line from Clov -- "I use the words you taught me. If they don't mean anything any more, teach me others" -- harkens back to Prospero and his daughter Miranda giving the man-beast language and understanding.

Beyond the allusions are Beckett's own personal ideas about life and death, loneliness and family, powered by a fairly pessimistic and dark view of the ultimate fate of humanity and humankind. As a main player in the philosophical ideology and existentialist movement of The Theatre of the Absurd, his stance makes sense. The world within his play IS absurd, as well as meaningless and a bit inhumane. So, making sense out of non-sense is the key to the reading experience -- or, refusing to make the attempt to unravel the play in order to find some common understanding and just choosing to go with the flow of dialogue and action that is presented. I tried a little of both, which was frustrating and challenging while still being somewhat enjoyable.

The companion piece to "Endgame" is "Act Without Words: A Mime for One Player," which borrows motifs, characters, allegories and tone from its predecessor. While it might be much more effective and interesting if seen in performance, the actual reading of five pages filled with nothing but repetitive, tedious stage directions is less than a fulfilling experience. But the main event, "Endgame," is the reason for this book, and if you want a taste of that absurdist, existential playwriting that Beckett and Ionesco made famous, this and "Rhinocerous" are good places to start. And, of course, there's always "Waiting For Godot."
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