Monday, March 25, 2013

Tragicomedy

Beckett, Ionesco, and the Tradition of Tragicomedy
Author(s): Enoch Brater
Reviewed work(s):
Source: College Literature, Vol. 1, No. 2 (Spring, 1974), pp. 113-127
Published by: College Literature
Stable URL: http://www.jstor.org/stable/25111022 .
Accessed: 05/04/2012 02:27
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113
BECKETT, IONESCO, AND THE TRADITION OF TRAGICOMEDY
Enoch

Brater

Behan once said that if a symphonyal composition wanted
entertainment
he might
do worse
than to see one of his plays; but if he wanted
lectures
Brendan
he should visit Becketts
theater.1 Behans
remark seems to reflect his
own inquietude with the metaphysical
dialectic at work in Becketts plays.

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But opposite critics have been quick to recognize Becketts
unique comic
like a European
reviewed Waiting
clowns.2
Jean Anouilh
repertoire,
Arts
for the magazine
for Godot
(January 27, 1953) as the music hall
. . . played by the Fratellini
written report of Pascals Pensees
clowns. Gogo
and Didi, observed Genevieve
than they
Serreau,
suggest clowns more
the
Alex and Zavetta, Pipo and Rhum,
do tramps; Footit and Chocolat,
or the traditional comedians
of English
the Marx Brothers,
Fratellini
trio,
3
And Hugh Kenner,
music hall.
among the first to track down that Car
in Becketts work, noted that the antecedents
tesian Centaur
rampant
to
serious determination
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