The auther of this essay is interested in finding the meaning of absurdity, Beckett is master of absurd theater, and Krapp’s last tape is one of the most influencial plays in absured theater which is deconstructed by nature. Not just the work and auther but the approach itself help the auther of this essay to find the true meaning of absurdity which itself leads human, after passing a chaos, to absolute peace. In the following paragraphs, first there is a biography of Samual Beckett the auther of Krapp’s last tape. Then the discussion goes through deconstruction which is not actually an approach but a reading stategy and short part is devoted to introsucing Lacan’s model of human psyche. Afterward the application of deconstruction and some other points on Krapp’s last tape is placed. At the end there is a conclusion of all what the auther of this essay trying to say. A Biography of Samual Beckett
“Samuel Barclay Beckett (April 13, 1906 – December 22, 1989) was an Irish avant-garde and absurdist playwright, novelist, poet and theatre director. His writings, both in English and French, provide bleak, and darkly comedic, ruminations on the human condition. He is simultaneously considered as one of the last modernists and one of the first postmodernists. He was a main writer in what the critic, Martin Esslin, termed the “Theatre of the Absurd.” The works associated with this movement share the belief that human existence has neither meaning nor purpose, and ultimately communication breaks down, often in a black comedy manner. Beckett studied French, Italian and English at Trinity College Dublin from 1923-1927, whereupon graduating he took up a teaching post in Paris. While in Paris, he met the Irish novelist James Joyce, who became an inspiration and mentor to the young Beckett. He published his first work, a critical essay endorsing Joyce’s work entitled “Dante…Bruno. Vico…Joyce” in 1929. Throughout the 1930s he continued to write and publish many essays and reviews, eventually beginning work on novels. During World War II, Beckett joined the French Resistance as a courier after the Germans began their occupation in 1940. Beckett’s unit was betrayed in August of 1942, and he and Suzanne fled on foot to the small village of Roussillon in the south of France. They continued to aid the Resistance by storing arms in his backyard. He was awarded both the Croix de Guerre and Medaille de la Resistance by the French government for his wartime efforts. Beckett was reticent to speak about this era of his life. Beckett continued writing novels throughout the 1940s, and had the first part of his story “The End” published in Jean-Paul Sartre’s magazine Les Temps Modernes, the second part of which was never published in the magazine. Beckett began writing his most famous play, Waiting for Godot, in October 1948 and completed it in January 1949. He originally wrote this piece, like most of his subsequent works, in French first and then translated it to English. It was published in 1952 and premiered in 1953, garnering positive and controversial reactions in Paris. The English version did not appear until two years later, first premiered in London in 1955 to mixed reviews and had a successful run in New York City after being a flop in Miami. The critical and commercial success of Waiting for Godot opened the door to a playwriting career for Beckett. He wrote many other well-known plays, including Endgame (1957), Krapp’s Last Tape (1958, and surprisingly written in English), Happy Days (1961, also in English) and Play (1963). He was awarded the 1961 International Publishers’ Formentor Prize along with Jorge Luis Borges. In that same year, Beckett married Suzanne Dechevaux-Dumesnil in a civil ceremony, though the two had been together since 1938. He also began a relationship with BBC script editor Barbara Bray, which lasted, concurrently to his marriage to Suzanne, until his death, in 1989. Beckett is regarded as...
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