Mr. Beckett and I do not get on.

I decided to read Waiting for Godot. I was hoping to find some profound meaning or engaging story within its pages. However, as I delved into the book, I found myself increasingly frustrated and confused.

The characters seemed to be aimlessly waiting for something that might never come. Their conversations were often circular and lacked a clear direction. I struggled to understand the author's意图 and the significance of the events that were unfolding, or rather, not unfolding.

After persevering for a while, I finally put this book down. It was not the kind of reading experience that I had hoped for. I guess Mr. Beckett's style is just not for me.

Perhaps others may find great value and inspiration in "Waiting for Godot", but for me, it was a rather disappointing encounter.

Waiting For Godot, 5*: It is quite simply one of the best plays ever written. It manages to be both funny and depressing in equal measures. The characters' absurd situations and dialogues keep the audience engaged while also making them reflect on the human condition.

Endgame, 4*: This play is weird and wonderful, typical of Beckett. The setting and characters are unique, and the story unfolds in a way that is both confusing and captivating.

Happy Days, 3*: One might wonder how a play with a woman buried up to her chest and a barely seen man could be so interesting. However, Beckett manages to create a world that draws the audience in and makes them care about the characters.

All That Fall, 3*: This is an intriguing yet weird radio play. The use of sound and dialogue creates a sense of atmosphere that is both spooky and engaging.

Act Without Words I & II, 2*: These are very physical theatre pieces that don't read well on the page. However, they are probably quite good to watch as the actors' movements and expressions bring the stories to life.

Krapp's Last Tape, 4*: This is a fantastic monologue that is really interesting philosophically. The character of Krapp reflects on his life and the choices he has made, and the audience is left to思考 their own lives as well.

Rough for Theatre I & II, 3*: Again, these plays are weird and wonderful. The characters in I are especially fascinating, and the stories explore themes of human nature and relationships.

Embers, 2*: I don't quite understand this play. The dialogue is cryptic and the story is hard to follow, but there is something about it that keeps me coming back.

Roughs for Radio I & II, 2*: These are experimental radio plays that are not necessarily in a good way. The sound effects and dialogue can be jarring and hard to listen to at times.

Words & Music, 1*: This is a pointless radio drama that doesn't really go anywhere. The characters and story are forgettable, and it fails to engage the audience.

Casando, 1*: Another pointless drama that offers little in the way of entertainment or thought-provoking ideas.

Play, 4*: This play has a genius idea that is simply done and ingeniously staged. The story is engaging and the characters are well-developed, making it a truly memorable piece of theatre.

Film, 1*: This is a crazy avant-garde film that makes even less sense written down. The visuals and sound are chaotic and hard to follow, and it fails to communicate any clear message.

the Old Tune, 1*: Two old men talking nonsense. That's about all there is to this play. It's not very interesting or engaging.

Come & Go, 1*: Nonsense. That's the best way to describe this play. It's short and doesn't really have a story or any characters worth caring about.

Eh Joe, 1*: Another film that makes little sense written down. The story is confusing and the characters are one-dimensional.

Breath, 2*: This is an effective piece with a slight element of "what the fuck". The use of sound and silence creates a powerful atmosphere, but the meaning is somewhat ambiguous.

Not I, 3*: This is an interesting monologue with only a mouth visible. The character's words and the way they are delivered are both captivating and thought-provoking.

That Time, 3*: The idea of a mute character being spoken to by offstage voices is an intriguing one. The play explores themes of memory, identity, and communication in a unique way.

Footfalls, 2*: This play is weird but not in a good way. The story is hard to follow and the characters are not very likable.

Ghost Trio, 1*: Another mental film that is hard to make sense of. The visuals and sound are strange and disjointed, and it fails to create any kind of emotional connection with the audience.

... but the clouds..., 1*: I've come to the conclusion that I hate his films. They are too experimental and don't offer anything in the way of entertainment or meaningful ideas.

A Piece of Monologue, 3*: This is a fascinating monologue that explores the inner thoughts and feelings of the character. The language is beautiful and the delivery is powerful.

Rockaby, 2*: The cool image of a woman rocking in a chair is not really matched by the script. The story is a bit thin and the character doesn't really develop over the course of the play.

Ohio Impromptu, 3*: This is an interesting duologue about personal history. The two characters share their memories and experiences, and the audience is left to思考 the importance of our past in shaping who we are.

Quad, 1*: Just no. This play is confusing and pointless, and it fails to engage the audience in any way.

Catastrophe, 3*: This is a funny body comedy that offers some light entertainment. The characters' physical movements and expressions are hilarious, and the story is simple but effective.

Nacht und Träume, 1*: Another strong no. This play is hard to understand and offers little in the way of entertainment or thought-provoking ideas.

What Where, 2*: To end, more weirdness. This play is typical of Beckett's later works, with its cryptic dialogue and strange characters. It's not a bad play, but it's not one that I would rush to see again.

According to the second volume of L'amica geniale, it has a rather interesting and unexpected use - it is useful for swatting mosquitos.

This might seem like a strange or unorthodox application, but in the world of literature and its many possible interpretations and uses, it adds a touch of quirkiness.

Perhaps the author intended this as a humorous aside or a clever way to make the reader think about the various ways in which ordinary objects, even a book, can be put to unexpected purposes.

It also shows how our perception of things can be expanded and that there are often hidden or alternative uses waiting to be discovered.

Whether one actually decides to use the second volume of L'amica geniale as a mosquito swatter or not, it certainly makes for an entertaining and thought-provoking idea.

I have particularly appreciated "Krapp's Last Tape", "Not I" and "Happy Days" (besides the very famous "Waiting for Godot", which is a great pleasure for me to read again). Beckett's theater is reduced to the minimum, characterized by the unsaid, by silence, by immobility. Surely one of the most brilliant authors of all time, his description of the human condition is the truest and at the same time the most tragic that I have ever read.

His works make us reflect on the meaning of life, on our existence, on our limitations. We see characters who are alone, lost, in search of something that perhaps does not exist. We feel their pain, their frustration, their hope.

Beckett's theater is not easy to understand, but it is rewarding. It forces us to look inside ourselves, to face our fears, our doubts, our uncertainties. It makes us realize that life is not always beautiful, but it is still worth living.

Well, it's a bit too much though.

Godot, yes yes, it's good to revisit. Endgame, okay fine, there are even some laughs.

Then there's the thing with endless stage instructions and totally disjointed "dialogue". I'm like, why didn't the guy just go into script writing and leave us without having to actually read this off the page, right?

So no, I'm probably not a fan. Though there were some definite high points in this. All the toying with absurdity, existential wossits, and the futility of language. It would have done me better at age 18 or so, not so much now.

At least I gave it a go. I tried to understand and appreciate the works, but perhaps they just don't resonate with me at this stage of my life. Maybe in the future, with a different perspective, I might see more value in them. But for now, I'll move on to other things.

Edward Albee, in his introduction to this book, writes:

"You have in front of you one of the most important books of the second half of the twentieth century---the collected plays of Samuel Beckett."

Albee goes on to proclaim that Beckett is not "avant garde" or "complex". Instead, he argues that Beckett is actually one of the most naturalistic and least "obscure" playwrights. This claim is highly debatable, to say the least. However, this volume is very handsome, and no one writes quite like Beckett, whether it's plays or novels.

The collection begins with Waiting For Godot, a timeless masterpiece. While many of the shorter and more conceptual pieces may not be as charming or engaging, there is still a great deal to appreciate. Each play offers a unique perspective and challenges the reader's understanding of theatre and the human condition.

Overall, this collection is a must-read for anyone interested in modern drama and the works of Samuel Beckett. It provides a comprehensive look at his body of work and showcases his unique style and vision.

I find Beckett's works to be a rather complex and somewhat polarizing experience. His use of sparseness, suggestiveness, and indirectness can be both engaging and off-putting. Many of the pieces in this collection seem to be dominated by stage, lighting, blocking, and costume directions, as well as themes of retrospective regret, emptiness, the inescapability of death, and absurdity.

I had forgotten just how funny Waiting For Godot can be, and All That Fall struck me as the most chillingly effective piece in the volume. I'm certain that actually seeing or hearing some of these works presented as directed by Beckett, with the proficiency of a professional theatrical production, would bring them to life in a way that reading them simply couldn't. This is often the case when I read dramatic works that are meant to be performed.

Overall, this was a challenging and often stimulating read, but it was only slightly enjoyable. There is no denying the artistic merit and intellectual depth of Beckett's works, but they don't always provide the kind of immediate entertainment or emotional satisfaction that I might seek from a literary work. Nevertheless, I appreciate the opportunity to engage with his unique style and vision.

The two long works, namely "Waiting For Godot" and "Endgame", are truly excellent pieces of literature. They展现了Beckett's remarkable talent and unique vision.

However, when it comes to the shorter works, they are rather bizarre. It might be that they hold more interest when it comes to performance or being watched on stage. There, the actors can bring the strange and often absurd elements to life in a way that engages the audience.

But when it comes to simply reading these shorter works, it is not quite a pleasant experience. It is interesting to observe how Beckett meticulously planned every detail right down to the second, and notated every stage direction with precision. Yet, somehow, this level of detail and planning just doesn't translate well onto the printed page.

Perhaps the essence and impact of these shorter works are better appreciated in a live performance setting, where the full potential of Beckett's creations can be realized.

In July/August 2012, I embarked on a literary journey by reading some of the most renowned works of Samuel Beckett.

First, I delved into "Waiting for Godot", a play that explores the human condition of waiting and the absurdity of life. The two main characters, Vladimir and Estragon, engage in a series of conversations and actions as they wait for the mysterious Godot who never arrives.

Next, I turned to "Endgame", which presents a desolate and claustrophobic world. The characters, trapped in a room, struggle with their own existence and the meaninglessness of life.

Finally, I read "Krapp's Last Tape", a one-act play that focuses on an old man, Krapp, listening to his past recordings and reflecting on his life.

These works by Beckett challenged my perception of reality and forced me to question the nature of human existence. They are not only masterpieces of modern literature but also a source of inspiration for me.

I am being extremely particular about this one. I find myself reading everything twice, or at least making sure to give it a thorough review. It's almost like being back in school, where I had to pay close attention to every detail.

This level of meticulousness is not something I take lightly. I understand the importance of getting things right, especially when it comes to this particular task.

By reading each piece of information carefully, I am able to catch any errors or overlook any important details. It allows me to have a better understanding of the subject matter and ensures that my work is of the highest quality.

Although it may take a bit more time and effort, I believe it is well worth it in the end. Just like in school, where the extra effort paid off in better grades and a deeper understanding of the material.

One of the greatest books you could ever get your hands on is truly a remarkable piece of work. Beckett, without a doubt, stands as the best playwright that has ever graced this world. This book is like my own personal Bible, having had a profound impact on me. It completely transformed the way I perceived writing, acting, theatre, and even life itself. The influence it has had on me is absolutely incredible. It opened my eyes to new perspectives and possibilities, making me see the art forms in a whole new light. The beauty and depth of Beckett's work are simply unmatched, and it continues to inspire and amaze me with each reading. It is a book that I will cherish and return to again and again, for it holds a special place in my heart and in my artistic journey.

I missed Beckett's Godot, and this is mostly why I came back.

Also, I'm sick, and literature always fixes what ails me. I LOVED WHAT WHERE so much.

He's without a doubt a great playwright. It kills me to compliment a man, but in this case, it's the truth. Beckett's works have a unique charm and depth that draw me in every time.

The way he explores human nature, existence, and the absurdities of life is truly remarkable.

Even though I missed Godot, experiencing his other works like WHAT WHERE has made my return worthwhile.

I can't wait to see what other masterpieces he has in store for us.

His plays not only entertain but also make me think and reflect on my own life.

Beckett is a true genius, and I'm grateful to have discovered his works.