Brockmann, Stephen (ed.) / Where extremes meet : rereading Brecht and Beckett = Begegnung der Extreme : Brecht und Beckett : eine Re-interpretation
Lehmann, Hans-Thies, et al.
Brecht and Beckett in the theater I, pp. -63
Hans-Thies Lehmann, Walter Asmus, and Carl Weber Chair: Moray McGowan Carl Weber Beckett and Brecht: Comparing their "Scenic Writing" recht began to direct early in his life and later regarded none of his texts as completed until he had translated the text on the page into the text's "scenic writing" on the stage. Beckett didn't begin to direct until late in his life, after he had been established as one of the great playwrights of his century. But then, wherever and whenever possible, he directed his own texts, which he had already inscribed with precise instructions for their scenic writing. Some aspects B & B texts have in common: B oth Beckett and Brecht used objects or props constituting visual metaphors that embody or anchor the play's fable or meaning. For example: Beckett: The tree in Godot The cell, wheelchair, ladder, and trash bins in Endgame The table, tape deck, and banana in Krapp's Last Tape The mound, parasol, purse, and cosmetic utensils in Happy Days The urns in Play The rocker in Rockaby Brecht: The railway canteen car in Man Equals Man The boxing ring in Little Mahagonny The fishing net and oven in Senora Carrar's Rifles The wagon in Mother Courage The telescope(s) and globe in Galileo The large tables in Puntila (first, third last, and last scene) Beckett liked to insert quotations from the Bible into his texts. So did Brecht, for whom the Luther Bible (and especially its language) was his favorite source text. There is, as far as I know, no other twentieth-century playwright who shared to a similar degree Brecht's and Beckett's predilection for biblical quotations. Another, quite amusing propensity they shared was for the ditty "A dog came to the kitchen..." Beckett used it in Waiting for Godot, and it certainly was much liked by Brecht. Beckett admired clowns and comedians, as did Brecht. Beckett's favorite was Buster Keaton, Brecht's Charlie Chaplin. There is a text by Brecht that in an uncanny way anticipated Beckett's Godot: Fluchtlingsgesprache, written in 1941 in Finland. 49
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