The Development of Samuel Beckett's Dramatic Technique in Some of his Major Plays

Abstract

The present study attempts to trace the development of Beckett's "dramatic language" in some of his major plays. The study aims at exploring how Beckett employs the verbal and non­ verbal elements in his plays. It shows how Beckett creates a kind of compromise between both elements in his early plays. However,

. in his later plays, language is used minimally until it completely disappears as a means of communication. A selection of five of Beckett's major plays are analyzed to trace the development of his­ use of language effectively. The five plays selected are Waiting for Godot, Happy Days, Krapp's Last Tape and Act without Words I& II.

Though universally admired and much written about, the body of criticism of Beckett's work concentrates on the thematic analysis of his plays as a whole, as a part of the Theatre of the Absurd .The plays have been examined in terms of the meaning they convey which is the futility of human life. Not much work has been produced which absolutely focuses on Beckett's use of the verbal and extra- linguistic signs. Even critics like Esslin and Kane who tackle Beckett's "dramatic language" do not give a full and consistent analysis of Beckett's language use or trace the development of this language in his plays in a chronological order. They merely deal with Beckett's language in general and justify their commentary by citing a few examples from his plays. The second chapter deals with dialogue, specifically what is realized through language: linguistic interaction and monologue, for the purpose of clarifying Beckett's belief that language can no more be used as a means of expression of traditional beliefs since •these beliefs have proved to be uncertain. Therefore, • the characters in the plays under study are far from being meaningful linguistically, yet they demonstrate the purposelessness of their lives. The study of dialogue in the plays involves the utilizing of the