Abstract:Samuel Beckett’s plays have a typically aesthetic composition of musical factors. It not only emphasizes questions of shape, structure and stylized movement, and diction in order to create an explicit...Samuel Beckett’s plays have a typically aesthetic composition of musical factors. It not only emphasizes questions of shape, structure and stylized movement, and diction in order to create an explicit form, but also employs such structural devices to clarify an explicit thematic content: an ambiguous content which is wonderfully emphasized by the work’s carefully balanced dramatic components. The dialogue, especially, in his plays is very well organized by the musical structure and technique. The two acts, for example, in Waiting for Godot appear to be the series of an orchestral score due to the repeated and elaborate poetic dictions and to the intentionally parallel activities of dramatis personae. The unique form is the result of his effort to create a new method in harmony or contrast to reflect the spirit of the age through the musical technique like Fuga and polyphony. On the stage it uses its originality and musicality. Beckett constructs a much more delicate aesthetic musical structure for the dialogue, and it builds upon a typical model of musicality in the literature.Read More
Publication Year: 2013
Publication Date: 2013-02-01
Language: en
Type: article
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