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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.6
- 수록면
- 301 - 321 (21page)
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Among the contemporary dramatists who are considered to be benefactors of Shakespeare's legacy, Beckett occupies a unique position in late twentieth-century dramatic theories. Shakespeare's greatness is largely due to the fact that he is both the best example of the rule and its best exception. Beckett as a premier example of a successful contemporary artist turns the very limitations of theatre to the innovations of the Absurd, in spite of his reputation for difficulty. This article is a comparative study which links Beckett's Endgame to Shakespeare's Richard 1lI, King Lear, and Hamlet.
In Endgame, paralyzed and blind Hamm's cruel treatment of Nagg and Nell reflects the same sort of contempt and hatred which the physically deformed King Richard manifests towards his mother. Endgame and Richard III both share a sadism in their tragic-comic force as well as a profound sense of self-regard as art conscious of itself.
Many modern critics identity the tragic core of Hamlet in the context of absurdist theatre, illuminating Hamlet's affinity with Hamm. Both characters share the need to play a role and to create a fiction upon which to base their understanding of their existence. Hamm's final tableau and Hamlet's speech, prior to his death, suggest the perpetuation of the process of telling so that story has replaced identity in each play. Though King Lear and Endgame are end-directed from the opening scenes and move toward their structural conclusions, both dramatically reveal the loss of the sense of an ending.
However, in spite of the similarities between Endgame and Shakespeare's plays, significant contrasts between them also need to be considered. Beckett's work produces meaningless repetition as the action leads nowhere, providing for an interpretation that life is without purpose. In contrast to the a priori disconnection and alienation of Beckett's world, Shakespeare's plays fundamentally reject the notion that man has no dignity, cut off from his religious, metaphysical, and ontological roots.
The Shakespeare/Beckett connection reveals the importance of the preservation of a dramatic tradition. It endorses the notion of the timelessness of Drama itself whether through its Beckettian rebirth or through Shakespearean Beckettism.
In Endgame, paralyzed and blind Hamm's cruel treatment of Nagg and Nell reflects the same sort of contempt and hatred which the physically deformed King Richard manifests towards his mother. Endgame and Richard III both share a sadism in their tragic-comic force as well as a profound sense of self-regard as art conscious of itself.
Many modern critics identity the tragic core of Hamlet in the context of absurdist theatre, illuminating Hamlet's affinity with Hamm. Both characters share the need to play a role and to create a fiction upon which to base their understanding of their existence. Hamm's final tableau and Hamlet's speech, prior to his death, suggest the perpetuation of the process of telling so that story has replaced identity in each play. Though King Lear and Endgame are end-directed from the opening scenes and move toward their structural conclusions, both dramatically reveal the loss of the sense of an ending.
However, in spite of the similarities between Endgame and Shakespeare's plays, significant contrasts between them also need to be considered. Beckett's work produces meaningless repetition as the action leads nowhere, providing for an interpretation that life is without purpose. In contrast to the a priori disconnection and alienation of Beckett's world, Shakespeare's plays fundamentally reject the notion that man has no dignity, cut off from his religious, metaphysical, and ontological roots.
The Shakespeare/Beckett connection reveals the importance of the preservation of a dramatic tradition. It endorses the notion of the timelessness of Drama itself whether through its Beckettian rebirth or through Shakespearean Beckettism.
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