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Plays (Theatre) I
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★ Plays (Theatre) I

Plays (Theatre) I: see Plays (Theatre) II & Plays (Fun) & Theatre & Literature & Shakespeare & Stage & Audience & Actor & Entertainment & Criticism & Drama

Samuel Beckett & Not I & Waiting for Godot - Star Trek: Voyager TV - Rude Britannia TV - Seneca - Oscar Wilde - Anton Chekhov - Doing Chekhov TV - Voltaire - Frederic Reynolds - William Shakespeare - John Dryden - Samuel Johnson - Thomas Kyd - Alexander Pope - Francis Quaries - George Bernard Shaw - T S Eliot - John Ruskin - David Mamet - Roundhead or Cavalier: Which One Are You? TV - Tom Stoppard - Edward Albee - Noel Coward - Anonymous 2011 - John Webster - Rosencrantz and Guildenstern are Dead 1966 - The Arbor 2010 - The Importance of Being Oscar TV - Drama Out of a Crisis: A Celebration of Play for Today TV - James Agate - Michael Scott - Shakespeare: Rise of a Genius TV - Arthur Miller - Arthur Miller: Writer TV & Death of a Salesman - Play for Today TV -               

 

 

 

Attacking those nerves, Samuel Beckett expressed what he saw as the bleak and desperate desolation of our lives.  But his writing is also about finding ways to face up to that, 1to endure, to carry on and to laugh.  Samuel Beckett: Not I, Sky Arts starring Lisa Dwan, Royal Court Theatre, Sky Arts 2013

 

Not I is one of Samuel Beckett’s most remarkable plays written in his mid-sixties.  ibid.  

 

His play Waiting For Godot was first staged in Paris in 1953.  ibid.

 

Not I was written in Paris in 1972.  ibid.

 

Mouth: Out into this world, this world … This God-forsaken world … What?  Who?  No! … God?  ha-ha-ha! … No feeling of any kind … What?  Who?  No!  She! …  ibid.   

 

 

Estragon: Nothing to be done.

 

Vladimir: I’m beginning to come around to that opinion.  Samuel Beckett: Waiting for Godot

 

Vladimir: May one enquire where His Highness spent the night?  ibid.  Vladimir 

 

Estragon: In a ditch.  ibid.

 

Suppose we repented?  ibid.  Vladimir

 

People are bloody ignorant apes.  ibid.  Estragon

 

Estragon: Let’s go.

 

Vladimir: We can’t.

 

Estragon: Why not?

 

Vladimir: We’re waiting for Godot.  ibid.  

 

What about hanging ourselves?  ibid.  Estragon

 

Don’t let’s do anything.  It’s safer.  ibid.  Estragon  

 

We’ve no rights any more? … We’ve lost our rights.  ibid.

 

Do you want a carrot?  ibid.  Vladimir  

 

His name is Godot?  ibid.  Estragon

 

Estragon: No use struggling.

 

Vladimir: One is what one is.  ibid.

 

You’re not Mr Godot, sir?  ibid.  Estragon to Pozzo     

 

The more people I meet the happier I become.  ibid.  Pozzo

 

You can’t drive such creatures away.  The best thing is to kill them.  ibid.

 

The tears of the world are a constant quantity.  ibid.

 

I can’t bear it any longer.  ibid.

 

Will night never come?  ibid.  Vladimir

 

That’s how it is on this bitch of an Earth.  ibid.  Pozzo

 

In the meantime nothing happens.  ibid.  Estragon

 

Nobody comes.  Nobody goes.  It’s awful.  ibid.

 

Given the existence as uttered forth in the personal works of Puncher and Wattmann of a personal God quaquaquaqua with white beard quaquaquaqua outside time without extension who from the heights of divine apathia divine athambia divine aphasia loves us dearly with some exceptions for reasons unknown but time will tell and suffers like the divine Miranda with those who for reasons unknown but time will tell are plunged in torment plunged in fire whose fire flames ... is established beyond all doubt ... that man ... wastes and pines ... for reasons unknown.  ibid.  Lucky  

 

I don’t seem to be able to depart.  ibid.  Pozzo

 

Vladimir: That passed the time.

 

Estragon: It would have passed in any case.

 

Vladimir: Yes, but not so rapidly.  ibid.

 

I sometimes wonder if we wouldn’t be better off alone.  ibid.  Estragon to Vladimir

 

What is there to recognise?  ibid.

 

The best thing would be to kill me.  ibid.

 

I can’t go on like this.  ibid.

 

This is becoming really insignificant.  ibid.  Vladimir

 

We always find something, eh Didi, to give us the impression we exist.  ibid.  Estragon

 

Let’s abuse each other.  ibid.

 

Let us not waste our time in idle discourse.  ibid.  Vladimir

 

We have kept our appointment.  ibid.

 

We are all born mad.  Some remain so.  ibid.  Estragon

 

We’re bored to death.  There’s no denying it.  ibid.  Vladimir

 

What’ll we do?  ibid.  Estragon

 

Have you not done tormenting me with your accursed time!  ibid.  Pozzo to Vladimir

 

I don’t know what to think any more.  ibid.  Vladimir

 

I can’t go on.  ibid.

 

Why don’t we hang ourselves?  ibid.  Estragon

 

I can’t go on like this.  ibid.

 

We’ll hang ourselves tomorrow.  Unless Godot comes.  ibid.  Vladimir

 

Estragon: Well shall we go?

 

Vladimir: Yes, let’s go [They do not move].  ibid. 

 

 

We’re doing another Voyager play.  As soon as I can write it.  Star Trek: Voyager s6e22: Muse, Kelis

 

You can’t change somebody’s way of life with a few lines of dialogue.  ibid.  B’Elanna to Kelis  

 

 

Plays like Entertaining Mrs Sloane and Loot [Joe Orton] with their assault on taboos of sex, class and death were a challenge to theatre audiences.  Rude Britannia 3/3: You’ve Never Had It So Rude, BBC 2010

 

Orton’s last piece of notorious rude theatre was What the Butler Saw.  ibid.

 

 

Lifes like a play; its not the length but the excellence of the acting that matters.  Seneca

 

 

The play was a great success, but the audience was a disaster.  Oscar Wilde

 

 

The world is a stage, but the play is barely cast.  Oscar Wilde

 

 

Nina: Your play’s hard to act; there are no living people in it.

 

Treplyov: Living people!  We should show life neither as it is nor as it ought to be, but as we see it in our dreams.  Anton Chekhov, The Seagull

 

 

Suppose you loved a woman – lived with her for two or three years then stopped caring for her.  As one does.  How do you behave in that case?  What if she had nowhere to go?  Anton Chekhov, The Duel, opening scene, Sky Arts 2012

 

A duel is a duel.  I want to fight.  ibid.  combatant

 

 

‘They are really funny and fresh and they absolutely operate in our world today.’  Doing Chekhov, Reece Shearsmith

 

‘That’s the challenge of it: to try and make those gear-changes.’  ibid.  Steve Coogan in The Dangers of Tobacco

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