Samuel Beckett: Ohio Impromptu

Impromptu Elements in Samuel Beckett's 'Ohio Impromptu'

Fiction & Literature, Literary Theory & Criticism, British
Cover of the book Samuel Beckett: Ohio Impromptu by Oliver Christl, GRIN Publishing
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Oliver Christl ISBN: 9783640495801
Publisher: GRIN Publishing Publication: December 17, 2009
Imprint: GRIN Publishing Language: English
Author: Oliver Christl
ISBN: 9783640495801
Publisher: GRIN Publishing
Publication: December 17, 2009
Imprint: GRIN Publishing
Language: English

Seminar paper from the year 2005 in the subject English - Literature, Works, grade: 2, 0, University of Freiburg, language: English, abstract: Ohio Impromptu, first performed at Ohio State University in 1981, is one of Samuel Beckett's last Plays. In the late period of his creative activity, Beckett's plays are dominated by a language taken out of the context and set free from dramatic action. Ohio Impromptu is in this way no exception, but it stands out among other late plays, like A Peace of Monologue or Rockaby, because of a special characteristic: as the title suggests, Beckett seems to provide us with the dramatic form of an impromptu. Being originally a term in music theory, impromptu means a composition which is improvised and composed without previous preparation (cf. Shaw 1972: 199). The scholar Enoch Brater points out, that '[a]s a theatrical form, an impromptu should appear light, improvised, almost extemporaneous, even if these effects are achieved through premeditation' (Brater 1987: 127). In his essay on Ohio Impromptu, Xerxes Mehta gives a more precise definition: 'An impromptu in the theatre is a quite specific form in which the playwright - usually through the vehicle of a play within a play - attacks his critics, defends his practice, and, traditionally, lets his audience in on a few of the tricks and all of the tribulations of his profession' (Mehta 1996: 97). To present a play within a play and to present the problems of play-acting or play-writing on stage is what Pierre Astier calls the 'meatheatrical dimension' (Astier 1982: 332) of an impromptu. In attempt to investigate the play under such or similar definitions, some scholars have pointed out, that Ohio Impromptu shows diverse elements of an impromptu. In contrast to that, it has also been said, that '[t]here is nothing impromptu about the piece' (Ben-Zvi 1986: 176). Following the given definitions, this paper tries to examine to what extent Ohio Impromptu can be seen as an impromptu, or rather, in which way Samuel Beckett thought about the play as an impromptu. For that purpose, the circumstances and development of the play's creation and the meaning of its title need to be pointed out first. In this connection, the earlier versions of the text are taken into consideration, too. The examination then focuses on the role of the audience and the critics portrayed in the play. Finally, the meaning of the play's specific structure is interpreted. Here the final version of the text stands in foreground.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Seminar paper from the year 2005 in the subject English - Literature, Works, grade: 2, 0, University of Freiburg, language: English, abstract: Ohio Impromptu, first performed at Ohio State University in 1981, is one of Samuel Beckett's last Plays. In the late period of his creative activity, Beckett's plays are dominated by a language taken out of the context and set free from dramatic action. Ohio Impromptu is in this way no exception, but it stands out among other late plays, like A Peace of Monologue or Rockaby, because of a special characteristic: as the title suggests, Beckett seems to provide us with the dramatic form of an impromptu. Being originally a term in music theory, impromptu means a composition which is improvised and composed without previous preparation (cf. Shaw 1972: 199). The scholar Enoch Brater points out, that '[a]s a theatrical form, an impromptu should appear light, improvised, almost extemporaneous, even if these effects are achieved through premeditation' (Brater 1987: 127). In his essay on Ohio Impromptu, Xerxes Mehta gives a more precise definition: 'An impromptu in the theatre is a quite specific form in which the playwright - usually through the vehicle of a play within a play - attacks his critics, defends his practice, and, traditionally, lets his audience in on a few of the tricks and all of the tribulations of his profession' (Mehta 1996: 97). To present a play within a play and to present the problems of play-acting or play-writing on stage is what Pierre Astier calls the 'meatheatrical dimension' (Astier 1982: 332) of an impromptu. In attempt to investigate the play under such or similar definitions, some scholars have pointed out, that Ohio Impromptu shows diverse elements of an impromptu. In contrast to that, it has also been said, that '[t]here is nothing impromptu about the piece' (Ben-Zvi 1986: 176). Following the given definitions, this paper tries to examine to what extent Ohio Impromptu can be seen as an impromptu, or rather, in which way Samuel Beckett thought about the play as an impromptu. For that purpose, the circumstances and development of the play's creation and the meaning of its title need to be pointed out first. In this connection, the earlier versions of the text are taken into consideration, too. The examination then focuses on the role of the audience and the critics portrayed in the play. Finally, the meaning of the play's specific structure is interpreted. Here the final version of the text stands in foreground.

More books from GRIN Publishing

Cover of the book How do Richard Burton and Anne Blunt address the issue of gender in their accounts of travel in Arabia? by Oliver Christl
Cover of the book The Aspect of Time in William Faulkner´s Short Story A ROSE FOR EMILY by Oliver Christl
Cover of the book Diversity And Common Ground by Oliver Christl
Cover of the book Die Frage nach der Technik von Martin Heidegger und die technologische Rationalität nach Herbert Marcuse by Oliver Christl
Cover of the book Can static type systems speed up programming? An experimental evaluation of static and dynamic type systems by Oliver Christl
Cover of the book Increasing Presence of Documenta Exhibition in Global Civil Society: Methodological Relevance of John Urry's 'Sociology beyond Societies' by Oliver Christl
Cover of the book Russia and its Changing Perceptions of the EU by Oliver Christl
Cover of the book Internal and External Sourcing Strategies by Oliver Christl
Cover of the book Improving the cooperation of a mixed United Arab Emirates-China project team by Oliver Christl
Cover of the book The dividend puzzle by Oliver Christl
Cover of the book A Strategic Exploration of Nokia's Success by Oliver Christl
Cover of the book Does EU Regional Policy have a future and will Latvia be able to benefit from it? by Oliver Christl
Cover of the book Jamie Oliver as a Manager and the Managing of his Restaurant 'Fifteen' by Oliver Christl
Cover of the book Corpus Linguistics - Differences and similarities between German and English Fairy Tales by Oliver Christl
Cover of the book The development of services in transition economies by Oliver Christl
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy