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.
|Title of host publication||Aspects of Twentieth Century Theatre in French|
|Publication status||Published - 2000|