Waiting for Godot: A Tragicomedy in Two Acts * 0802130348
Beckett's WAITING FOR GODOT has been called the quintessential play of the twentieth century. This 1997 Stratford Festival production, recorded before an audience in Toronto, benefits from good casting and wise direction. McCamus and Ouimette, as the attendant Vladimir and Estragon, have a rapport that's evident from their first lines, and their rapid exchanges of dialogue are often very funny. Blendick brings a sonorous, Orson Welles-like voice to the frighteningly absurd character of Pozzo. The small ensemble adheres well, and it's supported by convincing sound effects, music, and recording quality. D.B. © AudioFile 2002, Portland, Maine
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ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan prof. Anatoly Antohin Theatre UAF AK 99775 USA my eGroups About Samuel Beckett About Waiting for Godot
Analysis of the Play Character List Literature References Essays Message Board Bibliography GS Sum Spring 2006 Theatre UAF "Beckett: "It's a beautiful day, isn't it?"
A Reader's Guide to Samuel Beckett
The Critical Response to Samuel Beckett by Cathleen Culotta Andonian; Greenwood Press, 1998 Beckett's Dying Words: The Clarendon Lectures, 1990 by Christopher Ricks; Oxford University Press, 1995 * Samuel Beckett's Waiting for Godot by Harold Bloom; Chelsea House, 1987 - Modern Critical Interpretations - Waiting for Godot - Contents - Editor's Note - Introduction - Bailing out the Silence - The Search for the Self - Waiting - Waiting for Godot - The Waiting Since - The Language of Myth - Beckett and the Problem of Modern Culture - Beckett's Modernity and Medieval Affinities - Chronology Waiting for Godot in Sarajevo: Theological Reflections on Nihilism, Tragedy, and Apocalypse Westview Press, 1998 The Death of God and the Meaning of Life by Julian Young; Routledge, 2003 Beckett at 80/Beckett in Context by Enoch Brater; Oxford University Press, 1986 Samuel Beckett by John Pilling; Routledge & Kegan Paul, 1976 Samuel Beckett and the End of Modernity by Richard Begam; Stanford University Press, 1996 All That Fall by Samuel Beckett; Grove Press, 1957 Happy Days: A Play in Two Acts by Samuel Beckett; Grove Press, 1961 Frescoes of the Skull: The Later Prose and Drama of Samuel Beckett by James Knowlson, John Pilling; John Calder, 1979 The Long Sonata of the Dead: A Study of Samuel Beckett by Michael Robinson; Grove Press, 1969 Samuel Beckett: The Language of Self by Frederick J. Hoffman; Southern Illinois University Press, 1962 Samuel Beckett, a Critical Study by Hugh Kenner; Grove Press, 1961 Early Beckett: Art and Allusion in More Pricks Than Kicks and Murphy by Anthony Farrow; Whitston Publishing Company, 1991 Re--Joyce'n Beckett by Phyllis Carey, Ed Jewinski; Fordham University Press, 1992 Images of Beckett by John Haynes, James Knowlson; Cambridge University Press, 2003 Proust, Beckett and Narration by James H. Reid; Cambridge University Press, 2003 Murphy by Samuel Beckett; Grove Press, 1957 Watt by Samuel Beckett; Grove Press, 1959 Malone Dies by Samuel Beckett; Grove Press, 1956 The Drama in the Text: Beckett's Late Fiction by Enoch Brater; Oxford University Press, 1994 Theatre on Trial: Samuel Beckett's Later Drama by Anna Mcmullan; Routledge, 1993 Beckett in Directing Class script breakdown Godot biblio notes in Directing directory
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Estragon, sitting on a low mound, is trying to take off his boot. He pulls at it with both hands, panting. He gives up, exhausted, rests, tries again.
As before.
Enter Vladimir.
He hastens towards the wings .
LUCKY :
ACT II
Next day. Same time. Same place.
Estragon's boots front center, heels together, toes splayed. Lucky's hat at same place.
The tree has four or five leaves .
Enter Vladimir agitatedly. He halts and looks long at the tree, then suddenly begins to move feverishly about the stage. He halts before the boots, picks one up, examines it, sniffs it, manifests disgust, puts it back carefully. Comes and goes. Halts extreme right and gazes into distance off, shading his eyes with his hand. Comes and goes. Halts extreme left, as before. Comes and goes. Halts suddenly and begins to sing loudly.
A dog came in —
- Bye bye bye bye
- Bye bye—
- Bye bye bye bye
- Bye bye bye bye
- Bye bye bye bye
- Bye bye . . .