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Essay / Research Paper Abstract
3 pages in length. The passage of Samuel Beckett's Endgame that begins "nothing is funnier than unhappiness" (Beckett 18) illustrates the highly amusing component of tragic comedy that was introduced by the French. Beckett - one of the most significant contributors what has come to be known as the 'theater of the absurd' - understood the value of laughter amidst sadness, an integral element in his work that allowed audiences to see just how peculiar people can be. No additional sources cited.
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File: LM1_TLCBeckett.rtf
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the most significant contributors what has come to be known as the theater of the absurd - understood the value of laughter amidst sadness, an integral element in his work
that allowed audiences to see just how peculiar people can be. The reason this particular passages makes for good theater is because of its wholly contradictory implication: unhappiness is
anything but humorous, however, Beckett twists this reality in such a manner as to present it precisely that way. "Yes, yes" says Nell, "its the most comical thing in
the world" (Beckett 19). But she goes on to say it is like an oft-heard joke that is still funny but lacks the ability to draw out laughter. Becketts
Endgame indicates a common denominator between tragic and comedic drama that at the time was a much welcome theatrical variation audiences wholeheartedly embraced. While Beckett does not in any
way discount the validity of unhappiness, however, he turns the typical perspective of sorrow and discontent into something that can be construed as amusing by inserting an otherwise unseemly splash
of comedic license. Indeed, Becketts innate ability to stage tragedy as a laughable commodity gives the theatrical experience a duality of emotion as audience members question the correctness of
snickering at something so obviously bleak. Still, they are hard pressed to avoid Becketts subtle - as well as quite obvious - nuances that work in tandem to provide
viewers with an assortment of witty and at times hilarious cues that encourages their collectively amused response. Prior to the French introduction of theater of the absurd, Becketts Endgame may
never have had the chance to make such an obscure statement about life, death and the nothingness that resides between these to states of absolutism. True tragedies were the
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