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Endgame [Anglais] [Broché]

Samuel Beckett
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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: 12,9 x 19,8 cm
  • Moyenne des commentaires client : 4.3 étoiles sur 5  Voir tous les commentaires (3 commentaires client)
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5.0 étoiles sur 5 La version française est pour très bientôt 15 juillet 2012
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 
3.0 étoiles sur 5 édition augmentée d'une préface 30 juillet 2009
L'évaluation d'un enfant
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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5.0 étoiles sur 5 Absurdement vrai 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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Amazon.com: 3.9 étoiles sur 5  38 commentaires
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5.0 étoiles sur 5 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 
4.0 étoiles sur 5 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.
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4.0 étoiles sur 5 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?"
8 internautes sur 10 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 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.
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5.0 étoiles sur 5 The Hunter and the hunted 23 juillet 2012
Par Jacques COULARDEAU - Publié sur Amazon.com
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. There are two windows, Beckett's obsession of duality, one looking over the land and the other looking over the sea, but both land and sea are absolutely desolate, empty, dead. To see through the window Clov has to use a ladder and then a telescope to see what is far away, to have some perspective. I just wonder why they don't use a periscope. After all a house does not come with a telescope, so they could have had a periscope. That would have made things too easy I guess. Beckett wants things to be complicated for his very simple-minded characters.

Hamm lives with vague, evanescent memories of his own parents who are in the trashcans, in other words trashed. Nell, the mother, will appear once only and disappear to be later declared dead. And that will be the end of the first female character of Beckett's plays, a short-lived and sacrificed human entity, a very sexist vision of the woman. Nagg, the father, will appear a first time to ask his "pap", either the tit of a mother or a feeding bottle, or the soft and semi liquid stuff that is fed to babies on the way to more consistent food, and this "pap" is refused. We can see the mother fixation of that grandfather. He has regressed a lot, methinks. He will be given a biscuit (English meaning of course, hence a cookie) by Clov. The second time Nagg comes out Nell will come out too and Nagg will tell her a story, the story of the tailor, a story which has a strange anti-Semite flavour, and yet seems to be a rewriting of some old Germanic medieval story about a brave tailor who kills seven flies at one blow. But this tailor here is incompetent and he asks ever increasing delays because he fails some section of the striped trousers he is supposed to make for an Englishman. "I've made a mess of the seat." "I've made a hash of the crutch." "I've made a balls of the fly." Then these obscene, "indecent" says the Englishman, difficulties are compared to the six days of Genesis, hence with the creation of the world by God. The punch line is supposed to be funny: "But my dear Sir, my dear Sir, look at the world ... and look ... at my TROUSERS." And that is a lot more indecent still and totally gay we would say today.

Note in this second appearance of Nagg, first and last of Nell, Nagg tries to reach Nell and kiss her. But the trashcans are too far apart, on purpose of course. No sex we are British, aren't we? Castrating disposition, and disposal, of the two oldies by Hamm himself of course.

The third time Nagg comes out it is at the request of Hamm who wants to tell a story and promises a bon-bon that becomes a sugar plum that will never be delivered anyway. Empty promises, even worse than Indian giver, and Nagg will be pushed back down into his trashcan, or should I say dustbin, dust to dust, hence to death. Nagg goes back into his reservation and will be declared crying in there.

Hamm is the center of this room-world, crippled and blind. He uses still and probably used in the past his parents for his own sake and then rejects them into oblivion or death just the same way he has rejected the world into death. Then he exploits his own son, if he is his own son, to take care of him since he is crippled and blind. And his requests are capricious and tyrannical. Nothing surprising in that. The play is then about the total tyrannical dependence an older crippled and blind father imposes onto his own son, if he is the son, till, and that is the stake, the son sees a boy outside and runs away abandoning his dear father. That's the end. It is finished as is repeated many times in the play, from beginning to end.

The world then is not dead because of some cataclysmic apocalypse decided by God or decreed and implemented by humanity but because of the total self-centered father locked up onto himself. The only people he acknowledges must be his slaves in a way or another, his toys even, and he has the right of life and death over them, or so he thinks.

The game then is not a playful game but it is Clov, Hamm's game, the animal, "mammal" Beckett says in the play, Hamm has hunted and then locked up in his egotistical or is it ego-testicle blindness. The endgame is no longer the end of a game but the end of the venison Hamm has reduced his own son, if he is the son, to be. This works in English, but the French title does not at all carry this double-entendre, double meaning, though "Fin de Partie" may have an open sexual innuendo this time, like the fly of the trousers that had been "made a balls of." Since "une partie" is nothing but a ball, a testicle, generally in the plural, "les parties", hence with another innuendo about a one-balled man, or the castration of one ball. The title anyway implies the end of a game in which Hamm was holding Clov by the balls, so he thought, till Clov saw a boy and ran to him and Clov was the one who was holding Hamm by the balls and his leaving leaves him ball-less. Hamm has lost his game, his venison, but also his balls if we integrate the castrating meaning of the French title, a castrating meaning that is present all the time in Hamm's tyrannical requests and imposition.

A boy is the messenger, like in "Waiting for Godot," that the world is not completely dead, that there is some life out there. But he is only seen by Clov through the window overlooking the land, but Clov's reaction is immediate.

He, a grown man, in his newly donned Panama hat, tweed coat, raincoat on his arm, umbrella and bag, in one word dressed for the road, runs out to meet and capture a boy. Then what? The what! The theme is openly paedophiliac but also the reproduction of Hamm's hunting which may mean that Clov was Hamm's little boy captured in an ancient hunt.

That's where we can doubt the filiation of Clov to Hamm. It is never clearly said but it is probable. He might only be the younger human male Hamm captured a long time ago, and then Clov is on the road running out to do the same in his turn for his own benefit. And the end will be a new beginning exactly similar to the beginning of this endgame.

This play might sound absurd but it is not. It is the realistic denunciation of the enslavement of the young by the old, of their exploitation till the old die or are relegated into the trashcans, or should I say dustbins, of death. Then the young who are now middle-aged take over the hunt, the enslavement and the exploitation till they die or are relegated to the trashcans, etc.

Society is the dictatorship of the old over the young with a purely demographic rotation based on age only, from the older generation to the generation just lower in age forever over and over. There seems to be no escape to that fatality.

This leads to the idea that Beckett was living the years after WW2 in an extremely pessimistic mood. The Cold War led him to see and represent a world that is dead, that has no history anymore, in which biology is the only rule, henceforth and therefore in which survival is only individual provided you can find the slave you need or, if you are too young to be a slave master, the master you need in order to mature to take over later. The survival to which some philosophers want to reduce human life to in the name of science, thus reducing man to a blind mammal.

Beckett's world is a world of total dependence, of total absence of freedom, of total ruins, but all that is totally enclosed in one's own vision of reality that evades any kind of sense and meaning for that particular anyone.

Not absurd but totally and deliriously psychotic as well as anti-historical, un-human and anti-social. Is it Beckett's vision or is it Beckett's representation of a standard vision of his time? No one can answer this question, and certainly not the copyright holder, Jérôme Lindon and then Edward Beckett, who sticks to the letter of the plays and the stage directions and refuses any kind of side-tracked interpretation that could lead to a completely new vision of Samuel Beckett's work. Luckily his power does not extend beyond the borders of France. Beyond one can think differently.

I just wonder what that vision could become if Beckett could see our world of hyper-virtual-reality-communication-cum-social-networking. Could a psychotic post-modern vision of his type survive and thrive in our modern world of total drowning in the multiple and never-ending flow of unforeseen and unforeseeable expansion?

Dr Jacques COULARDEAU
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