Clowns and mimes have been accompanying theatrical work since the ancient world and they have not lost their comic effect until today. Even when Beckett has never admitted explicitly that his clown-like characters were intended, his plays do, however, show a considerable influence of comic elements. These clownish and mimetic elements shall be examplified in this term paper. Hence a short view over the history and characteristics of mimes and clowns shall be given and the results embedded into the plays Waiting for Godot, Endgame und Act Without Words I.
Table of Contents
1. Introduction
2. Development of Pantomimes and clowns
2.1. Pantomimes
2.2. Clowns
3. Pantomimes and clowns in Beckett`s plays
3.1 Waiting for Godot
3.2 Endgame
3.3 Act Without Words
4. Conclusion
5. Bibliography
5.1 Primary texts
5.2 Secondary texts
Objectives and Topics
This paper examines the influence and manifestation of clownish and mimetic elements within Samuel Beckett’s dramatic works. It explores how Beckett integrates historical clown archetypes and silence-based performance techniques to characterize the human condition in his plays, specifically focusing on the intersection of comedy and existential absurdity.
- Historical evolution of mimes and clown archetypes
- Character analysis of Beckett's figures as modern clowns
- The utilization of silence and mime in dramatic structures
- Intertextual connections to classic clown performances (e.g., circus, vaudeville)
- The relationship between absurdity and traditional comic tropes
Excerpt from the book
3.3 Act Without Words
Both plays Act Without Words I and II are explicitly underwritten as mimes for one or two players which is more than a hint from Beckett that one will be concerned with pantomimes which as mentioned in chapter 2.1. are unseparably connected with clowns. In Act Without Words II the two mimes are hidden in sacks and alternately forced by a pole to climb out of their sacks and to prepare for the day before they return into their sacks. My focus, however, will rather lie on Act Without Words I which provides more comic elements. The plot is pictured in a few words as the play itself is pretty short: The protagonist is flung to a desert like stage and continually teased by an off-stage force which offers different objects that are withdrawn just in the moment when the protagonist is able to make a sensible use of them.
Beckett exploits two old themes in this play: First, the chase by the circus spotlight in which the tramp clown Emmet Kelly (1898-1979) is tormented by the spotlight while he tries to clean up the circus hall. Kelly finally wins the duel and sweeps it out of the ring. The second is the so-called vaudeville cliché in which an off-stage force, for example a hook or a cane, “threatens to jerk a performer off-stage“ in accordance with an old custom which gave the audience the possibility to judge if they liked a performance or not. If not then the perfomer was jerked off-stage.
Summary of Chapters
1. Introduction: Introduces the historical background of mimes and clowns and establishes the research premise that Beckett's characters serve as witnesses to the human condition through comic elements.
2. Development of Pantomimes and clowns: Provides a historical overview of the development of mime and the categorization of various clown types, establishing a framework for their dramatic utility.
3. Pantomimes and clowns in Beckett`s plays: Analyzes the practical implementation of these clownish and mimetic tropes within specific dramatic works by Beckett.
3.1 Waiting for Godot: Examines the tramp-clown and classic pairing dynamics between characters like Vladimir and Estragon and Pozzo and Lucky.
3.2 Endgame: Discusses the relationship between Hamm and Clov within the White Clown-Auguste scheme and identifies specific clownish behaviors.
3.3 Act Without Words: Focuses on the use of mime and the subversion of vaudeville and circus tropes in Beckett's wordless dramatic pieces.
4. Conclusion: Summarizes the findings, suggesting that Beckett uses these clownish elements to express the inscrutability of existence rather than mere entertainment.
5. Bibliography: Lists the academic primary and secondary sources utilized in the paper.
Keywords
Samuel Beckett, Waiting for Godot, Endgame, Act Without Words, Mime, Clown, Pantomime, Absurdity, Human Condition, Theatre, Slapstick, White Clown, Auguste, Comedy, Silence.
Frequently Asked Questions
What is the primary focus of this work?
The paper explores the presence of clownish and mimetic elements in Samuel Beckett's plays, analyzing how these features contribute to his depiction of the human condition.
Which theatrical categories are examined?
The research delves into the history and development of pantomime and the various archetypes of clowns, such as the fool, the lout, the simpleton, the braggart, and the tramp.
What is the central research question?
The work aims to demonstrate how Beckett, while not intentionally creating comedy for entertainment, utilizes clown-like figures and mimetic strategies to reveal the underlying absurdity of existence.
Which scientific methods are applied?
The author uses a literary and historical approach, analyzing secondary literature on clown types and comparing these findings with the dramatic actions and character dynamics in Beckett’s primary texts.
What does the main body cover?
It covers the historical background of pantomime, the classification of clown types, and a detailed examination of specific plays including "Waiting for Godot," "Endgame," and "Act Without Words."
Which terms best characterize this work?
Key terms include Beckettian absurdity, the White Clown-Auguste pairing, the significance of silence in drama, and the historical lineage of the circus and vaudeville clown.
How does the author define the relationship between Hamm and Clov in "Endgame"?
The author identifies their relationship as a manifestation of the White Clown-Auguste scheme, where Hamm acts as the authoritarian White Clown and Clov as the servant/foolish Auguste.
Why does the author focus on "Act Without Words I"?
It is analyzed because the play completely abstains from language, relying entirely on mimetic and clownish elements to convey its themes, providing a clear example of the author's argument.
How is the concept of "the fall" used in the analysis?
The author highlights "the fall" as a classic clown trope found in various scenes, such as in "Waiting for Godot" and "Krapp's Last Tape," to illustrate how physical comedy underscores the characters' struggles.
- Quote paper
- Giuseppe Stein (Author), 2008, The mime and the clown - or Samuel Beckett as comedian, Munich, GRIN Verlag, https://www.grin.com/document/91445
