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Most accounts of Waiting for Godot have stressed the existential predicament of Vladimir and Estragon. But once we have perceived the evolving temporal and spatial forms that arise out of the 109 different ways of waiting, we realize that the characters' existential predicament comes only second to the "form" that "remain[s] separate" from the content it accommodates. Thus, we note that there are two kinds of repetition on the stage of Godot: the repetition as a form of life and the formal, aesthetic repetition. If repetition as a form of life can be summarized as habit, "the great deadener," it is the other form of repetition that saves life from social and conventional repetition. This is the kind of repetition that finds affinities with Nietzschean "eternal recurrence" which, Deleuze argues, is the form of absolute differentiality. This repetition also leads the being towards the repetition of profound memory and ultimate death on which De!eze speculates synthesizing Nietzschean 'eternal recurrence' and Freud's death instinct.
Godot is a drama that alternates and unfolds between life and death instincts. The 'nothing' in Vladimir's opening speech, "Nothing to be done." encompasses the two kinds of repetition, life and death, activities and silence. Thus, the 'nothing,' the two kinds of repetition, and death as a life generating principle are all another expressions for 'eternal recurrence." Freud's death instinct provides a possible explanation for the Beckettian mystery of indulgence in the endgame, which always ends by not ending. According to Freud, life is a 'masochistic' diversion on the way to death. In avoiding the "shortcircuits" to death via accident, as Vladimir and Estragon do in Godot, it is as though the organism had recognized that oblivion will be all the more complete a nothingness. The longer the organism holds out against negativity, the sweeter it will be in the end.
Beckett says that in his literature the consternation IS 'behind' the form and that the form exists separate from the material(the mess) it accommodates. If we understand repetition as the form that accommodates the content, the 'perhaps,' the absolute uncertainty of 50/50 ratio, and read this form with Freud via Derrida/Deleuze/Connor, and with Nietzsche via Deleuze, we might see that the form of Waiting for Godot is an expression of the writer's own highly philosophical speculations and absolutely abstract beauty on his canvas of a stage, independent of the mess the play's characters dramatize.
Godot is a drama that alternates and unfolds between life and death instincts. The 'nothing' in Vladimir's opening speech, "Nothing to be done." encompasses the two kinds of repetition, life and death, activities and silence. Thus, the 'nothing,' the two kinds of repetition, and death as a life generating principle are all another expressions for 'eternal recurrence." Freud's death instinct provides a possible explanation for the Beckettian mystery of indulgence in the endgame, which always ends by not ending. According to Freud, life is a 'masochistic' diversion on the way to death. In avoiding the "shortcircuits" to death via accident, as Vladimir and Estragon do in Godot, it is as though the organism had recognized that oblivion will be all the more complete a nothingness. The longer the organism holds out against negativity, the sweeter it will be in the end.
Beckett says that in his literature the consternation IS 'behind' the form and that the form exists separate from the material(the mess) it accommodates. If we understand repetition as the form that accommodates the content, the 'perhaps,' the absolute uncertainty of 50/50 ratio, and read this form with Freud via Derrida/Deleuze/Connor, and with Nietzsche via Deleuze, we might see that the form of Waiting for Godot is an expression of the writer's own highly philosophical speculations and absolutely abstract beauty on his canvas of a stage, independent of the mess the play's characters dramatize.
목차
Ⅰ.
Ⅱ. 『고도』의 미학적 형식으로서의 반복
Ⅲ. 프로이트와 베케트·반복강박-삶의 본능과 죽음의 본능 사이의 드라마
Ⅳ. 들뢰즈와 베케트 · 반복과 기억, 그리고 존재의 시간성
Ⅴ.
주
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