"The teller and the tale: Narrating the narrator in Samuel Beckett's Cendres, Pas moi and Pas" in Aspects of Twentieth Century Theatre in French, edited by Michael Cardy and Derek Connon, Peter Lang, 2000, pp. 113-128

Gerald Macklin

    Research output: Chapter in Book/Report/Conference proceedingChapter

    Abstract

    This study looks at three plays by Samuel Beckett - Cendres, Pas moi and Pas - to illustrate how his dramatic characters frequently become narrators. in particular, these protagonists and story-tellers often narrate tales that are ostensibly detached from the main "action" but, in fact, are commentaries on and reflections of the narrator himself. Thus, in Cendres, we have the story of Henry, Ada and Addie and Henry's anguish concerning his disappeared father but Henry's tale of Bolton and Holloway actually relates very closely to his own experience of loss, alienation and desire fror release from existential anguish. Again, in Pas moi the speaker Bouche pours out a torrent of words expressing a sense of existential pain but insists that this is not autobiographical and rather relates to some third party in the form of "she". For the audience this is a transparent evasion of self-confrontation through the illusion of narrative about someone else and in Pas a similar phenomenon occurs concerning May. This tortured female somnambulist seems locked in a cycle of pacing and thinking, "revolving it all" in her tormented mind but her story of Amy and Mrs Winter near the end of the play is, in fact, a reformulation of her own predicament. For Beckett narration becomes drama and how this is reflected in these three plays helps one come to terms with patterns in his theatre as a whole.
    LanguageEnglish
    Title of host publicationAspects of Twentieth Century Theatre in French
    Pages113-128
    Publication statusPublished - 2000

    Fingerprint

    Narrator
    Samuel Beckett
    Anguish
    Reformulation
    Evasion
    Protagonist
    Illusion
    Narration
    Alienation
    Storyteller
    Winter
    Self-confrontation
    Drama
    Pain

    Keywords

    • narrator
    • narration
    • telling
    • tale
    • drama
    • self

    Cite this

    @inbook{88af67e0cac0465b8317e3702e07092c,
    title = "{"}The teller and the tale: Narrating the narrator in Samuel Beckett's Cendres, Pas moi and Pas{"} in Aspects of Twentieth Century Theatre in French, edited by Michael Cardy and Derek Connon, Peter Lang, 2000, pp. 113-128",
    abstract = "This study looks at three plays by Samuel Beckett - Cendres, Pas moi and Pas - to illustrate how his dramatic characters frequently become narrators. in particular, these protagonists and story-tellers often narrate tales that are ostensibly detached from the main {"}action{"} but, in fact, are commentaries on and reflections of the narrator himself. Thus, in Cendres, we have the story of Henry, Ada and Addie and Henry's anguish concerning his disappeared father but Henry's tale of Bolton and Holloway actually relates very closely to his own experience of loss, alienation and desire fror release from existential anguish. Again, in Pas moi the speaker Bouche pours out a torrent of words expressing a sense of existential pain but insists that this is not autobiographical and rather relates to some third party in the form of {"}she{"}. For the audience this is a transparent evasion of self-confrontation through the illusion of narrative about someone else and in Pas a similar phenomenon occurs concerning May. This tortured female somnambulist seems locked in a cycle of pacing and thinking, {"}revolving it all{"} in her tormented mind but her story of Amy and Mrs Winter near the end of the play is, in fact, a reformulation of her own predicament. For Beckett narration becomes drama and how this is reflected in these three plays helps one come to terms with patterns in his theatre as a whole.",
    keywords = "narrator, narration, telling, tale, drama, self",
    author = "Gerald Macklin",
    note = "Reference text: S Beckett La Derni{\`e}re bande suivi de Cendres, Les Editions de Minuit, Paris, 1959 S Beckett Oh les beaux jours suivi de Pas moi, Les Editions de Minuit, Paris, 1963-1974 S Beckett Pas, Les Editions de Minuit, Paris, 1978 'Eug{\`e}ne Ionesco: The Joke's On Us', BBC Arena, 1989 Kristin Morrison Canters and Chronicles: The Use of Narrative in the Plays of Samuel Beckett and Harold Pinter, University of Chicago Press, Chicago, 1983 Ruby Cohn Just Play: Beckett's Theatre, Princeton University Press, Princeton, 1980 Shimon Levy Samuel Beckett's Self-Referential Drama: The three I's, Macmillan, Basingstoke and London, 1990 Paul Lawley 'Embers: an interpretation' in S E Gontarski The Beckett Studies Reader, University Press of Florida, Gainesville, 1993 Robin J Davis and Lance St-J Butler (eds.) 'Make Sense Who May' - Essays on Samuel Beckett's Later Work, Colin Smythe, Gerrards Cross, 1989 James Knowlson Damned to Fame: The Life of Samule Beckett, Bloomsbury, London, 1996 Katherine Kelly 'The Orphic mouth in Not I' in S E Gontarski The Beckett Studies Reader, University Press of Florida, Gainesville, 1993 John Osborne Look Back in Anger, Faber and Faber, 1989",
    year = "2000",
    language = "English",
    isbn = "3-906764-45-1",
    pages = "113--128",
    booktitle = "Aspects of Twentieth Century Theatre in French",

    }

    "The teller and the tale: Narrating the narrator in Samuel Beckett's Cendres, Pas moi and Pas" in Aspects of Twentieth Century Theatre in French, edited by Michael Cardy and Derek Connon, Peter Lang, 2000, pp. 113-128. / Macklin, Gerald.

    Aspects of Twentieth Century Theatre in French. 2000. p. 113-128.

    Research output: Chapter in Book/Report/Conference proceedingChapter

    TY - CHAP

    T1 - "The teller and the tale: Narrating the narrator in Samuel Beckett's Cendres, Pas moi and Pas" in Aspects of Twentieth Century Theatre in French, edited by Michael Cardy and Derek Connon, Peter Lang, 2000, pp. 113-128

    AU - Macklin, Gerald

    N1 - Reference text: S Beckett La Dernière bande suivi de Cendres, Les Editions de Minuit, Paris, 1959 S Beckett Oh les beaux jours suivi de Pas moi, Les Editions de Minuit, Paris, 1963-1974 S Beckett Pas, Les Editions de Minuit, Paris, 1978 'Eugène Ionesco: The Joke's On Us', BBC Arena, 1989 Kristin Morrison Canters and Chronicles: The Use of Narrative in the Plays of Samuel Beckett and Harold Pinter, University of Chicago Press, Chicago, 1983 Ruby Cohn Just Play: Beckett's Theatre, Princeton University Press, Princeton, 1980 Shimon Levy Samuel Beckett's Self-Referential Drama: The three I's, Macmillan, Basingstoke and London, 1990 Paul Lawley 'Embers: an interpretation' in S E Gontarski The Beckett Studies Reader, University Press of Florida, Gainesville, 1993 Robin J Davis and Lance St-J Butler (eds.) 'Make Sense Who May' - Essays on Samuel Beckett's Later Work, Colin Smythe, Gerrards Cross, 1989 James Knowlson Damned to Fame: The Life of Samule Beckett, Bloomsbury, London, 1996 Katherine Kelly 'The Orphic mouth in Not I' in S E Gontarski The Beckett Studies Reader, University Press of Florida, Gainesville, 1993 John Osborne Look Back in Anger, Faber and Faber, 1989

    PY - 2000

    Y1 - 2000

    N2 - This study looks at three plays by Samuel Beckett - Cendres, Pas moi and Pas - to illustrate how his dramatic characters frequently become narrators. in particular, these protagonists and story-tellers often narrate tales that are ostensibly detached from the main "action" but, in fact, are commentaries on and reflections of the narrator himself. Thus, in Cendres, we have the story of Henry, Ada and Addie and Henry's anguish concerning his disappeared father but Henry's tale of Bolton and Holloway actually relates very closely to his own experience of loss, alienation and desire fror release from existential anguish. Again, in Pas moi the speaker Bouche pours out a torrent of words expressing a sense of existential pain but insists that this is not autobiographical and rather relates to some third party in the form of "she". For the audience this is a transparent evasion of self-confrontation through the illusion of narrative about someone else and in Pas a similar phenomenon occurs concerning May. This tortured female somnambulist seems locked in a cycle of pacing and thinking, "revolving it all" in her tormented mind but her story of Amy and Mrs Winter near the end of the play is, in fact, a reformulation of her own predicament. For Beckett narration becomes drama and how this is reflected in these three plays helps one come to terms with patterns in his theatre as a whole.

    AB - This study looks at three plays by Samuel Beckett - Cendres, Pas moi and Pas - to illustrate how his dramatic characters frequently become narrators. in particular, these protagonists and story-tellers often narrate tales that are ostensibly detached from the main "action" but, in fact, are commentaries on and reflections of the narrator himself. Thus, in Cendres, we have the story of Henry, Ada and Addie and Henry's anguish concerning his disappeared father but Henry's tale of Bolton and Holloway actually relates very closely to his own experience of loss, alienation and desire fror release from existential anguish. Again, in Pas moi the speaker Bouche pours out a torrent of words expressing a sense of existential pain but insists that this is not autobiographical and rather relates to some third party in the form of "she". For the audience this is a transparent evasion of self-confrontation through the illusion of narrative about someone else and in Pas a similar phenomenon occurs concerning May. This tortured female somnambulist seems locked in a cycle of pacing and thinking, "revolving it all" in her tormented mind but her story of Amy and Mrs Winter near the end of the play is, in fact, a reformulation of her own predicament. For Beckett narration becomes drama and how this is reflected in these three plays helps one come to terms with patterns in his theatre as a whole.

    KW - narrator

    KW - narration

    KW - telling

    KW - tale

    KW - drama

    KW - self

    M3 - Chapter

    SN - 3-906764-45-1

    SP - 113

    EP - 128

    BT - Aspects of Twentieth Century Theatre in French

    ER -