Is there an issue? Send a MessageReason:
None
Added DiffLines:
* ''Rough for Theatre' I'' and ''II''
Added DiffLines:
*''Catastrophe''
Is there an issue? Send a MessageReason:
None
Changed line(s) 12,13 (click to see context) from:
Beckett's theater of the absurd plays were a major influence on later generations of dramatists and screenwriters, perhaps, among them Creator/HaroldPinter, Creator/TomStoppard, and Creator/DavidMamet. Beckett remained creatively active until his very final years where ill health forced him to spend his last days in an old-age home.
to:
Beckett's theater of the absurd plays were a major influence on later generations of dramatists and screenwriters, perhaps, among them the most notable being Creator/EdwardAlbee, Creator/HaroldPinter, Creator/TomStoppard, and Creator/DavidMamet. Beckett remained creatively active until his very final years where ill health forced him to spend his last days in an old-age home.
Is there an issue? Send a MessageReason:
None
Changed line(s) 12,13 (click to see context) from:
Beckett remained creatively active until his very final years where ill health forced him to spend his last days in an old-age home.
to:
Beckett's theater of the absurd plays were a major influence on later generations of dramatists and screenwriters, perhaps, among them Creator/HaroldPinter, Creator/TomStoppard, and Creator/DavidMamet. Beckett remained creatively active until his very final years where ill health forced him to spend his last days in an old-age home.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
After completing his studies at Trinity College Dublin, Beckett taught English in Paris, where he met fellow Irishman Creator/JamesJoyce and for some time worked as a research assistant. Not surprisingly, Joyce's stream of consciousness approach to writing was a major influence on Beckett's early works, while at least some of Beckett's personal frustrations in working with Joyce were satirized in his early novel ''Watt''. Having made Paris his home, Beckett adopted French as the language of most of his writing, stating that his lesser fluency in the language guaranteed that he would write in the sparse, minimalist style that became characteristic of his later works.
In the late 1930s, Beckett survived a nearly fatal stabbing by a pimp on the streets of Paris after Beckett refused his services. His friend Suzanne Dechevaux-Dusmenil helped nurse him following his injuries and later became his wife. During the Second World War, Beckett was a messenger assisting the French resistance against German occupation, an experience of which he rarely spoke later in life. No doubt both experiences contributed to his rather bleak view of the human condition.
Beckett remained creatively active until his very final years where ill health forced him to spend his last days in an old-age home.
In the late 1930s, Beckett survived a nearly fatal stabbing by a pimp on the streets of Paris after Beckett refused his services. His friend Suzanne Dechevaux-Dusmenil helped nurse him following his injuries and later became his wife. During the Second World War, Beckett was a messenger assisting the French resistance against German occupation, an experience of which he rarely spoke later in life. No doubt both experiences contributed to his rather bleak view of the human condition.
Beckett remained creatively active until his very final years where ill health forced him to spend his last days in an old-age home.
Is there an issue? Send a MessageReason:
None
Changed line(s) 8,9 (click to see context) from:
In the late 1990s, the project ''Beckett on Film'' endeavored to film all 19 of Samuel Beckett's plays. Many of the filmed plays were made by notable directors (e.g. Creator/AtomEgoyan, Creator/NeilJordan, Creator/DavidMamet) and featured well-known stage and screen actors (e.g. Creator/JohnGielgud in his last filmed role, Creator/JohnHurt, Creator/JulianneMoore, Creator/JeremyIrons, Creator/MichaelGambon, etc).
to:
In the late 1990s, the project ''Beckett on Film'' endeavored to film all 19 of Samuel Beckett's plays.plays, the project was completed in 2001. Many of the filmed plays were made by notable directors (e.g. Creator/AtomEgoyan, Creator/NeilJordan, Creator/DavidMamet) and featured well-known stage and screen actors (e.g. Creator/JohnGielgud in his last filmed role, Creator/JohnHurt, Creator/JulianneMoore, Creator/JeremyIrons, Creator/MichaelGambon, etc).
Is there an issue? Send a MessageReason:
None
Added DiffLines:
In the late 1990s, the project ''Beckett on Film'' endeavored to film all 19 of Samuel Beckett's plays. Many of the filmed plays were made by notable directors (e.g. Creator/AtomEgoyan, Creator/NeilJordan, Creator/DavidMamet) and featured well-known stage and screen actors (e.g. Creator/JohnGielgud in his last filmed role, Creator/JohnHurt, Creator/JulianneMoore, Creator/JeremyIrons, Creator/MichaelGambon, etc).
Is there an issue? Send a MessageReason:
None
* ''Mercier and Camier''
* ''How it Is''
Changed line(s) 36 (click to see context) from:
* HomoeroticSubtext: Since much of Beckett’s work solely features male characters, it lends itself to queer readings. Vladimir and Estragon in particular are often seen as having an "old married couple" dynamic, and [[TheLostLenore "the dear name"]] in ''Ohio Impromptu'' is sometimes interpreted as a man (especially since it seems to be partly inspired by Beckett's real-life friendship with Creator/JamesJoyce).
to:
*HeroOfAnotherStory: The protagonists of some of Beckett's plays and novels often appear as minor characters in later works, for example, Watt appears briefly in the last chapter of ''Mercier and Camier''.
* HomoeroticSubtext: Since much of Beckett’s work solely features male characters, it lends itself to queer readings. For example, Vladimir and Estragon in particular are often seen as having an "old married couple" dynamic, as are the eponymous Mercier and Camier as they break-up and later reunite, and [[TheLostLenore "the dear name"]] in ''Ohio Impromptu'' is sometimes interpreted as a man (especially since it seems to be partly inspired by Beckett's real-life friendship with Creator/JamesJoyce).
* HomoeroticSubtext: Since much of Beckett’s work solely features male characters, it lends itself to queer readings. For example, Vladimir and Estragon in particular are often seen as having an "old married couple" dynamic, as are the eponymous Mercier and Camier as they break-up and later reunite, and [[TheLostLenore "the dear name"]] in ''Ohio Impromptu'' is sometimes interpreted as a man (especially since it seems to be partly inspired by Beckett's real-life friendship with Creator/JamesJoyce).
Is there an issue? Send a MessageReason:
None
Changed line(s) 6,8 (click to see context) from:
Samuel Barclay Beckett (13 April 1906 – 22 December 1989) was an Irish playwright, theatre director, poet and novelist. His early work is generally dark comedy with a lot of [[ViewersAreGeniuses references to art, music and philosophy]]; his mature work loses all the youthful cleverness and combines great compassion for the old, weak, infirm or ill with plentiful amounts of gallows humour; his late work is even more stripped down and goes into MindScrew territory.
He also used to drive Wrestling/AndreTheGiant to school.
He also used to drive Wrestling/AndreTheGiant to school.
to:
Samuel Barclay Beckett (13 April 1906 – 22 December 1989) was an Irish playwright, theatre director, poet and novelist. His early work is generally dark comedy with a lot of [[ViewersAreGeniuses references to art, music and philosophy]]; his mature work loses all the youthful cleverness and combines great compassion for the old, weak, infirm or ill with plentiful amounts of gallows humour; his late work is even more stripped down and goes into MindScrew territory.
He also used toterritory. More detailed info can be found [[https://en.wikipedia.org/wiki/Samuel_Beckett here.]]
Random Fact: While Beckett was living in the French village of Molien, he would sometimes drive a young Wrestling/AndreTheGiant toschool.school. This was because André was too large to fit comfortable in French autos, while Beckett owned a pickup truck where he could ride in the flatbed. In later interviews, André would say that the playwright was very interested in discussing cricket scores.
He also used to
Random Fact: While Beckett was living in the French village of Molien, he would sometimes drive a young Wrestling/AndreTheGiant to
Is there an issue? Send a MessageReason:
None
Added DiffLines:
** From ''How It Is'':
--> ''I see me on my face close my eyes not the blue the others at the back and see me on my face the mouth opens the tongue comes out lolls in the mud and no question of thirst either no question of dying of thirst either all this time vast stretch of time''
--> ''I see me on my face close my eyes not the blue the others at the back and see me on my face the mouth opens the tongue comes out lolls in the mud and no question of thirst either no question of dying of thirst either all this time vast stretch of time''
Is there an issue? Send a MessageReason:
None
Changed line(s) 43 (click to see context) from:
* {{Mouthscreen}}: In an extremely minimalist production by the Creator/{{BBC}} of ''Not I'', this is all that can be seen of actress Billie Whitelaw (and with the 2000 production for ''Beckett on Film'' with Creator/JulianneMoore) as she performs the extended monologue, of a woman on the brink of insanity describing her life. The camera never moves from a full-screen shot of her lips and moving mouth.
to:
* {{Mouthscreen}}: In an extremely minimalist production by the Creator/{{BBC}} of ''Not I'', this is all that can be seen of actress Billie Whitelaw (and later with the 2000 2001 production of the play for ''Beckett on Film'' with Creator/JulianneMoore) as she performs the extended monologue, of a woman on the brink of insanity describing her life. The camera never moves from a full-screen shot of her lips and moving mouth.
Is there an issue? Send a MessageReason:
None
Changed line(s) 43 (click to see context) from:
* {{Mouthscreen}}: In an extremely minimalist production by the Creator/{{BBC}} of ''Not I'', this is all that can be seen of actress Billie Whitelaw as she performs the extended monologue, of a woman on the brink of insanity describing her life. The camera never moves from a full-screen shot of her lips and moving mouth.
to:
* {{Mouthscreen}}: In an extremely minimalist production by the Creator/{{BBC}} of ''Not I'', this is all that can be seen of actress Billie Whitelaw (and with the 2000 production for ''Beckett on Film'' with Creator/JulianneMoore) as she performs the extended monologue, of a woman on the brink of insanity describing her life. The camera never moves from a full-screen shot of her lips and moving mouth.
Is there an issue? Send a MessageReason:
None
Changed line(s) 28 (click to see context) from:
* BodyMotifs: Immobile limbs, the scatological, and blindness are very common.
to:
* BodyMotifs: Immobile or amputated limbs, the scatological, and blindness are very common.common.
* BuriedAlive: Many characters in Beckett's plays and novels are physically trapped, either by being partially buried in dirt (and eventually completely buried, as in ''Happy Days'') or by being stuck inside of trash cans, urns, etc.
* BuriedAlive: Many characters in Beckett's plays and novels are physically trapped, either by being partially buried in dirt (and eventually completely buried, as in ''Happy Days'') or by being stuck inside of trash cans, urns, etc.
Is there an issue? Send a MessageReason:
None
Changed line(s) 28 (click to see context) from:
* CrapsackWorld: The characters of his novels and plays often inhabit bleak and desolate surreal landscapes, most notably the protagonists crawling through mud in ''How It Is'', a husband and wife living out their last days stranded in the middle of the desert in ''Happy Days'', and the implied post-apocalyptic world of ''Theatre/Endgame'', largely devoid of human and animal life apart from the crippled and sick main characters.
to:
* CrapsackWorld: The characters of his novels and plays often inhabit bleak and desolate surreal landscapes, most notably the protagonists crawling through mud in ''How It Is'', a husband and wife living out their last days stranded in the middle of the desert in ''Happy Days'', and the implied post-apocalyptic world of ''Theatre/Endgame'', ''Theatre/{{Endgame}}'', largely devoid of human and animal life apart from the crippled and sick main characters.
Is there an issue? Send a MessageReason:
None
Changed line(s) 28 (click to see context) from:
* CrapsackWorld: The characters of his novels and plays often inhabit bleak and desolate surreal landscapes, most notably the protagonists crawling through mud in ''How It Is'', a husband and wife living out their last days stranded in the middle of the desert in ''Happy Days'', and the implied post-apocalyptic world of ''Endgame'', largely devoid of human and animal life apart from the crippled and sick main characters.
to:
* CrapsackWorld: The characters of his novels and plays often inhabit bleak and desolate surreal landscapes, most notably the protagonists crawling through mud in ''How It Is'', a husband and wife living out their last days stranded in the middle of the desert in ''Happy Days'', and the implied post-apocalyptic world of ''Endgame'', ''Theatre/Endgame'', largely devoid of human and animal life apart from the crippled and sick main characters.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* CrapsackWorld: The characters of his novels and plays often inhabit bleak and desolate surreal landscapes, most notably the protagonists crawling through mud in ''How It Is'', a husband and wife living out their last days stranded in the middle of the desert in ''Happy Days'', and the implied post-apocalyptic world of ''Endgame'', largely devoid of human and animal life apart from the crippled and sick main characters.
