Space is separated from enzougary and comes with loneliness and the rhythm of life.

Personalities are mostly in pairs and without eye-catching external appearances.

I liked the feeling that reading Beckett's plays also gave. Inner turmoil and loneliness nourished me and created a deeper reality and greater understanding.

Space, with its vastness and solitude, offers a unique backdrop for the exploration of one's inner self. The absence of external distractions allows for a more profound connection with one's thoughts and emotions.

People, often in pairs, navigate this space, each with their own hidden depths and unspoken desires.

Reading Beckett's plays, with their complex characters and thought-provoking themes, provides a window into the human condition. It allows us to experience the same inner turmoil and loneliness that the characters face, and in doing so, gain a greater understanding of ourselves and the world around us.

In this way, space, personality, and literature all come together to create a rich and meaningful tapestry of life.

"Waiting for Godot" truly deserves ten stars. It is a masterpiece that has endured through the ages, captivating audiences with its profound themes and unique style. The play's exploration of human nature, existentialism, and the meaning of life is both thought-provoking and deeply moving.

"Happy Days," on the other hand, earns four stars. While it may not reach the same heights as "Waiting for Godot," it still offers valuable insights and engaging characters. The play's examination of relationships and the passage of time is presented in a distinct and memorable way.

As for the other texts, they might only rate two or three stars. Perhaps they lack the depth and innovation of the aforementioned works. However, they could potentially be interesting to read under the influence of some psychedelic acid, which might enhance the reader's perception and interpretation of the text.

I first became acquainted with Samuel Beckett in my early twenties, or perhaps a little earlier. At that time, I was curious to understand why a play about two people waiting for a third person who would never arrive was so renowned and cherished. I read it, and it had a profound impact on me. Of course, I knew that Godot was never meant to come (after all, who doesn't?), but still, a deep sense of unease, if not outright discomfort, persisted throughout my reading. When I reached the end, the circular nature of the piece became evident: suddenly, I was back where I started, as if I had never turned a single page and had fixated on the opening sentences. And it didn't even feel like going in circles. Everything simply remained static, frozen in space and time. I suppose this was the essence of it.

Fast forward nearly ten years, and here I am again. This time, I approached Beckett as an old friend, convinced that I knew what to expect. To some extent, I was correct: the absurdity of existence, the illusion of time and movement, the lack of guidance and meaning, our scattered and pointless thoughts and actions in the void - all these themes were present once more. However, what I realized is that "Waiting for Godot" is just the beginning of a downward spiral. With each play, the contours of reality become increasingly模糊, and the characters gradually lose their humanity until they are reduced to heads, shadows, or voices. The overall sense of absurdity becomes heavier and almost frenzied. Words are either scattered across the page or they flood in an unrestrained stream of consciousness, where phrases, thoughts, and names seem completely out of place and disconnected. As clichéd as it may sound, Beckett's text stops simply conveying a message of absurdity and instead becomes that absurdity itself.

I suppose this is why, no matter how many times I return to Beckett's plays, I will always be struck. It's almost as if I had never read a single page of them. And I'm certain that it won't even feel like going in circles. Everything will simply remain still, frozen in space and time. This, I guess, is the point.

Read some of this book.

It was never my intention to read it all anyway.

The content within its pages is interesting, yet it presents a certain level of complexity.

I find myself in a situation where I could really do with a guide to help me decipher it.

Perhaps with the assistance of a well-versed guide, I would be able to unlock the deeper meanings and understand the subtleties that currently elude me.

Until then, I will continue to read and explore, hoping to make some sense of this captivating yet somewhat puzzling book.

Who knows what hidden treasures and insights await me as I persevere in my reading journey?

A play is like a curtain,

It involves two women and a man,

And the secrets that lie within it.

It presents a short display of people's daily lives and the dishonesty of humans.

Is this why I don't tell the truth? Just like this? Maybe one day I will tell the truth in the end, and by then, there will be no light left for telling the truth?

The story is about a married man who has an affair with another woman, and his wife realizes it.

His mistress also knows that the man is married.

The first part of the play is about this,

but the second part was confusing for me.

I read the book twice,

but my questions were not answered.

I also couldn't find a review about the play.

The first staged Beckett I witnessed was way back in 1980 in London.

It was an experience that left an indelible mark on me. I had the privilege of seeing "Endgame" and "Krapp's Last Tape," both masterpieces directed by Beckett himself.

Never before or since have I been so thoroughly connected with an author. His works seemed to speak directly to my soul, touching on the deepest aspects of human existence.

And I must say, I have never again seen a production of his work that was able to bring out the music in his words, or the inherent humor that lurked beneath the surface.

Those performances were truly magical, and I will always cherish the memories of that unforgettable evening.

It was as if I had been transported to a different world, a world where Beckett's unique vision and talent reigned supreme.

To this day, I continue to be inspired by his works and the profound impact they had on me.

I can only hope that future generations will have the opportunity to experience the genius of Samuel Beckett in the same way that I did.

Samuel Beckett, although he began writing with novels, is more widely known for his various plays and adaptations. His remarkable works have all been collected in the volume of his dramatic oeuvre. Beckett considered his plays as handmade creations and explored the meanings and concepts within them. He was passionate about protecting the form and shape of these creations and was also strict about how they were presented on stage.

His plays often challenged the traditional norms of theater, pushing the boundaries of what was considered acceptable and expected. Beckett's unique style and approach to drama have had a profound impact on the world of theater and continue to be studied and performed today.

Despite the initial challenges and criticism his works faced, Beckett's plays have endured and are now regarded as some of the most important and influential in the history of theater. His ability to create complex and thought-provoking works that engage the audience on multiple levels is a testament to his genius as a playwright.

ESTRAGONE: We always find something, eh, Didi, to give us the impression of existing?

VLADIMIRO (irritated) But yes, but yes, we are magicians.

-Waiting for Godot

This exchange between Estragon and Vladimir in "Waiting for Godot" highlights their existential dilemma. They are constantly searching for meaning and a sense of purpose in a seemingly absurd world. Estragon's question implies that they rely on these "somethings" to convince themselves that they truly exist. Vladimir's response, though somewhat sarcastic, also reflects their attempts to find significance in their existence.

HAMM: Let's pray to God.
CLOV: Again?
NAGG: My candy!
HAMM: First God! (Pause). Ready?
CLOV (resigned) Ready.
HAMM (To Nagg) And you?
NAGG (joining his hands, closing his eyes, recites hastily) Our Father who art in heaven...
HAMM: Silence! In silence! Some dignity! Come on, let's start. (Prayer-like attitude. Silence. Discouraged before the others) Well?
CLOV (Opening his eyes again) Absolute zero. And you?
HAMM: A hole in the water. (To Nagg) And you?
NAGG: Wait (Pause. Opening his eyes again) A cabbage!
HAMM: What rubbish! It doesn't exist!

-Endgame

In "Endgame," Hamm's insistence on praying to God shows his longing for something more, perhaps a higher power to give meaning to their existence. However, the responses of Clov and Nagg are less than enthusiastic, and the whole scene ends in disappointment. The idea of "absolute zero" and a "hole in the water" further emphasizes the emptiness and futility of their existence. Nagg's mention of a "cabbage" seems out of place and adds to the absurdity of the situation. Overall, these two extracts from Beckett's plays explore the themes of existentialism, the search for meaning, and the absurdity of life.

The three Dialogues on art eloquently give Beckett's theory on the purpose of art with a touch of Beckett's humor. It is truly a display of genius.

In these dialogues, Beckett explores the profound nature of art in a unique and engaging way. His words are like a guiding light, leading us through the complex world of artistic expression.

With his characteristic humor, Beckett makes the discussion not only intellectually stimulating but also highly entertaining. He challenges our preconceived notions and makes us think about art in a whole new light.

The dialogues are a testament to Beckett's brilliance as a writer and thinker. They offer valuable insights into the purpose and meaning of art, and continue to inspire generations of artists and art lovers alike.

Overall, the three Dialogues on art are a must-read for anyone interested in the world of art and the ideas that shape it. They are a masterpiece of literary and artistic criticism, and a shining example of Beckett's genius.

Samuel Beckett's works have received various ratings.

"Waiting for Godot" has a rating of 5/5, showing its high acclaim. "Endgame" also gets 5/5, indicating its significance. "Happy Days" is rated 5/5 as well.

"All That Fall" has a score of 4/5, suggesting it is still highly regarded. "Act Without Words I" and "Act Without Words II" have ratings of 4/5 and 5/5 respectively.

"Krapp's Last Tape" is given 5/5. "Rough for Theatre I" and "Rough for Theatre II" have ratings of 4/5 and 4.5/5.

"Embers" gets 4/5. "Rough for Radio I" and "Rough for Radio II" both have a rating of 3/5.

"Words and Music" is rated 5/5. "Cascando" has a score of 4/5. "Play" gets 5/5. "Film" has a rating of 4/5.

"Come and Go" is rated 3/5. "Eh Joe" has a score of 3/4. "Breath" gets 4/5.

"Not I" is rated 5/5. "That Time" has a score of 4/5. "Footfalls" is given 3/5. "Ghost Trio" gets 4/5.

"...but the clouds..." has a rating of 3.5/5. "A Piece of Monologue" is rated 5/5. "Rockaby" gets 5/5.

"Ohio Impromptu" has a score of 4/5. "Quad" has a rating of 4.5/5. "Catastrophe" gets 4/5. "Nacht und Träume" has a score of 4/5. "What Where" is rated 3/5.

This works better when performed live rather than in a text.

Waiting for Godot, Endgame, Krapp's Last Tape, A Piece of Monologue - I believe these are the more readable ones. The others, in my opinion, suffer as they are more performance oriented.

It is also quite challenging to read so many Beckett plays - this entire book from cover to cover. I am a Beckett fan, yet it *is* tiring.

I thought Molloy was rather okay, and Malone Dies as well, but these are plays! It's the kind of thing that you would have to read in small discrete units, focusing on one play and then another, depending on your mood.

Perhaps it would be more enjoyable to experience these plays in a theatrical setting, where the actors can bring the characters and the stories to life.

Reading them on the page can sometimes feel a bit flat, especially when compared to the energy and excitement of a live performance.

However, there is still value in reading Beckett's plays, as it allows us to explore his unique style and themes in more detail.

Overall, while Beckett's works may not be the easiest to read, they are certainly worth the effort for those who are interested in modern drama and literature.

Rereading Beckett's texts has been one of the most enlightening experiences regarding the major themes of the post-war 20th century.

Placing himself within the strand of the "theatre of the absurd", where the nullifying experience of existence and its insignificance prevail, Beckett completely revolutionizes the scenic representation of time, still bound to the canons of the 19th-century bourgeois vision.

The author shows great originality compared to the dominant dramatic context, representing in hitherto unseen ways the drama of human life in all its emptiness. An emptiness that is fully reflected both in the texts and in the choices of the stage objects.

The common thread that binds all these texts wonderfully collected in this anthology (with a very instructive and well-written preface) is waiting. Life is configured as a continuous waiting for a certain end. Man lives in this rather absurd dimension, where everything he does is vain in posthumous terms, since oblivion is the only thing he will encounter. Therefore, existence is nothing but a continuous attempt to postpone this certain term, an insistent filling of the existential void with useless words, with senseless speeches if related to their real functionality in human experience. It is in this perspective that the difficult-to-understand texts that Beckett presents on stage should be seen.

Starting from "Waiting for Godot", the text that has been most acclaimed by critics and the starting point of the theatrical revolution carried out by the author.

The drama is configured as the waiting of two poor men, Vladimir and Estragon, for the arrival of a certain Godot, of whom nothing will be known except the name and the fact that they have to solve some question with him. Waiting for his arrival, the two find themselves discussing, often without following any logical thread, just to fill that empty time. The speech, which until then was the core of the drama, now becomes a mere pretext to try in vain to escape the arrival of the end. This can also be understood from the name of Godot, which is nothing but the combination of "go", go, and "dot", that is, point, stop. This expresses the paradoxical condition of living: as Estragon repeatedly states that he wants to leave but does not do so, so life is a long waiting in which every movement is only an illusory stasis. And in this staticity, emphasized by the fact that, in the smallest terms, this drama has no plot, the characters speak only to amuse themselves.

The same happens for other dramas in the anthology, such as "Endgame" and "All That Fall", which see a progressive dehumanization of the story, with always more absurd protagonists and always colder scenes.

The peak of his poetics, at least in my opinion, since it has strongly impressed me, is "Happy Days".

Apparently, it is a sort of monologue (interrupted only rarely by some monosyllables of the husband) of Winnie, a woman who continuously emphasizes the luck she has and the fact that she always spends happy days. But the tragedy, the emptiness and the extreme illusoriness of these words are stunningly shown by the scenic representation: the woman is buried in a mound that reaches up to her waist (in the second act up to her head, so she can no longer make any movement) and the husband is unable to walk, only to crawl, a fact that prevents him from digging Winnie out. Beckett brings the theatre back to its original meaning here, focusing the whole text on the visibility of the drama: in fact, "theatre" comes from the Greek "theaomai", that is, to see. The existential situation is not explained by the text itself but by the contrast between the hopeful words of the woman and her real condition. It can be said that the drama lies only in the setting and that the words are nothing but a vain chatter waiting for an end that the character tries to avoid. Moreover, although Winnie has a revolver, she will never use it, because this would indicate that her heroine has had an unhappy and empty life, breaking that illusion of happiness, of which she is inwardly aware.

In short, a deep reading, not for everyone, that makes you discover deeply the drama of living, or rather of surviving.