Full text
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| Author(s): |
Tauan Fernandes Tinti
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Estudos da Linguagem |
| Defense date: | 2011-06-29 |
| Examining board members: |
Fábio Akcelrud Durão;
Lucianno Ferreira Gatti;
Fábio de Souza Andrade
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| Advisor: | Fábio Akcelrud Durão |
| Abstract | |
This work consists in a reading of Samuel Beckett's Endgame built upon the hypothesis that the play, through what can be defined as a deliberate exclusion of everything external to it, is capable of integrating the resulting deadlocks from the attempts of its interpretation to its own formal structure, in a paradoxical movement that strengthens the play's internal logic through the denial of interpretation. Throughout three chapters, this work aims to explore different ramifications of that idea in order to outline the boundary represented by the play: in the first chapter, the interpretative hypothesis is developed upon a reading of the objects of Endgame, culminating in the idea that its characters are closer to the absent and fractured objects that they demand than to proper persons; in the second chapter, their condition is developed in the sense of a confrontation between two forms of temporality, progression and circularity, which are submitted to the same principle of scarcity that penetrates other levels of the play; in the third chapter, the central hypothesis is that Endgame puts into question some procedures of humor in a highly destructive manner, and that the retroactive meaning acquired by the resulting ruins of this process may be extrapolated into a glimpse, from within the play itself, both of its status as a work of art and of its complex relationship with tradition (AU) | |
| FAPESP's process: | 09/04180-8 - The absurd of theatre: Endgame and the boundaries of drama |
| Grantee: | Tauan Fernandes Tinti |
| Support Opportunities: | Scholarships in Brazil - Master |