Advantages: Fantastic monologue Disadvantages: is better to see it
I have seen this on multimedia and would love to actually perform it myself live in front of an audience. SamuelBeckett\'s writings are excellent if somewhat dark and disturbing at times. This particular play can be seen as quite disturbing as the focus is on the mouth of the speaker. It brings to mind the thought process that goes through our heads and seems to be based on memories of a person who we see as a dismebodied mouth. There are constant questions and answers being iterated throughout the piece with the speaker avoiding saying the word \'I\'. The whoe play is said in third person and so continues to depersonalise it for the speaker and gives the audience a chance to apply the monologue to themselves. A powerful play that deserves to be recognised. ...
Advantages: SUPERB ACTORS Disadvantages: GLOOMY, AS IT SHOULD BE
Last night I have seen Peter Brook's production of "Come and Go", together with "Rough for Theatre I", "Rockaby", "Neither" and "Act without Words II". The title of the whole evening was "Fragments", and it lasted about an hour; "Come and Go" is the last little play staged, and one of the best pieces.
As most of my readers probably know, Beckett was a Nobel price for literature, author of great plays like "Waiting for Godot" (first staged in 1952) and "Endgame" (1956), and of smaller plays called with the French term "dramaticules" (little plays). They last from few minutes to seconds ("Breath", for instance, is just a breath, taking about half a minute).
Beckett's most famous plays date back to the fifties; he died in 1989, and kept writing till the end.
"Rough for Theatre I" belongs to Beckett's production of the fifties ...
Advantages: Applicable to a modern audience Disadvantages: Takes a lot of studying to truly understand it
appropriate for the review.
*The Background*
At the time of writing "Waiting for Godot", there was no other similar type of play in the world of theatre. It is perhaps best described as being from "The Theatre of the Absurd", the expression invented by the critic Martin Esslin for the work of a number of playwrights, mostly written in the 1950s and 1960s. The term is derived from the French philosopher Albert Camus where he first defined the human situation as, in its simplest form, meaningless and absurd. The 'absurd' plays by SamuelBeckett and others such as Arthur Adamov, Tom Stoppard, Edward Bond, Jean Genet, Harold Pinter, all share the view that man is inhabiting a universe with which he is out of key. Its meaning is mysterious and his place within it is without purpose. He is bewildered, troubled and obscurely threatened ...
