• Home   /  
  • Archive by category "1"

Krapps Last Tape Essays And Criticism Of Islam

One of the principal authors of the theater of the absurd, Samuel Beckett was born and grew up in Ireland, where he studied languages at Trinity College. As a young man he traveled to the Continent and eventually settled in Paris. Although Krapp’s Last Tape was originally written in English, he wrote most of his works first in French and translated them into English. Besides plays, Beckett wrote and published novels, shorter fiction, and poetry. During World War II he served as a member of the French resistance and had to go into hiding to survive. He was awarded the Nobel Prize in Literature in 1969.

In Krapp’s Last Tape, an older man reviews his life and confronts his isolation and inability to love. Krapp’s failures as a human being are glaringly evident, but the audience may also identify with him. Like a mime or a circus clown, Krapp wrings his audience out with contrary emotions. He is laughable and pathetic, grotesque and human. Within the small framework of a one-act monologue, in the soiled comedic figure of Krapp, Beckett creates a complex reality. Describing Krapp’s Last Tape as absurdist theater is subject to interpretation. Unlike more extremely absurdist Beckett plays such as En attendant Godot (1952; Waiting for Godot, 1954) or “Fin de partie” (1957;“Endgame”), the play is fairly realistic. Krapp’s comic appearance and the way it contrasts with his sad life is, however, absurdist. Here is an ordinary human being who aspired to be a writer but with slight success, suffered the death of parents, and failed in love. He wrestled (not too vigorously) with alcoholism. He is experiencing a lonely...

(The entire section is 689 words.)

Krapp’s Last Tape fits into the period of Samuel Beckett’s career during the late 1950’s when he was concerned with the voices of characters in a play more than their visual presence on stage. Though Krapp’s Last Tape was written for performance in the theater, it is more akin to the two radio plays All That Fall (pr., pb. 1957) and Embers (pr., pb. 1959) than to the plays for theater that earned for Beckett world fame. The radio plays dispense with physical trappings of theater, such trappings as had preoccupied Beckett in the writing of Fin de partie (pr., pb. 1957; Endgame, 1958), which among other things, examined the stage as artifice. In Embers and All That Fall, the stage is the listener’s imagination as simulated by voices and sound effects. This approach allowed Beckett to experiment with the illusoriness of language and therefore the illusoriness of the characters themselves. Beckett is at pains to show that the characters, whether in fiction or in drama, are projections of the imagination in the form of words. In All That Fall, the central character is preoccupied with her words as she speaks them. She senses that her words are somehow bizarre. Her husband suggests that she is struggling with a dead language. Language itself takes on unreal shadings, just as the specters of characters who speak from the radio. Embers, generally regarded as one of Beckett’s...

(The entire section is 498 words.)

One thought on “Krapps Last Tape Essays And Criticism Of Islam

Leave a comment

L'indirizzo email non verrà pubblicato. I campi obbligatori sono contrassegnati *