Endgame – Samuel Beckett

1. Endgame – Samuel Beckett A play about playing the game and knowing the end.

2. Introduction • MSN Staging of “Endgame” • The world of “Endgame” is self contained. • The text and dialogue of the play are limited to short sentences. • The characters “leave” or “die” suddenly. • The characters have repeated this “game” so much that it no longer surprises them.

3. Introduction • The MSN staging is our modern interpretation • Contained world, short, quick bits of dialogue happens • Conversations areonly understood between the people speaking. • Others can jump in and out of the conversation unexpectedly. • The world of technology has become one where we are used to people disappearing without saying “good bye”. • We understand why: technical issues, disconnections • Not a big deal.

4. Introduction • What’s the relevance? • Throughout our research we discovered that one thing a lot of critics and audiences did was to try to understand the play and its world through a metaphor. • There were a lot of interpretations, but a common one that we decided to focus on is the metaphor of the game of chess.

5. But first things first… Bio Time Line on Samuel Beckett Major Dates • 1906 - Samuel Barclay Beckett was born on Good Friday, April 13 to William and May Beckett near Dublin, Ireland. • 1923 to 1927 - Studied French, Italian and English at Trinity College, Dublin. • 1928 – Left for Paris for a teaching position. He was son introduced to James Joyce, another famed Irish novelist and poet, who would become a major influence on him. • 1929 - Published his first work, a critical essay defending Joyce’s work, along with his first short story entitled “Assumption”. • 1930 - Won his first literary prize for his poem “Whoroscope”, which dealt with known philosopher René Discartes, another massive influence. • 1931 – Published critical study of Proust in London. • 1932 – Worked on his first novel, “Dream of Fair to Middling Women”, which later became severely edited into smaller parts and retitled as “More Pricks Than Kicks”.

6. But first things first… • 1933 – “More Pricks Thank Kicks” was published. Began Jungian psychotherapy for two years, after father’s death. • 1935 – Worked on the novel “Murphy”, which showed the heavy influence of Joyce. • 1936 – Departed for Germany, and filled numerous artwork and noted his distaste for the Nazi savagery that was taking place at the time. • 1937 – Returned to Paris. After turning down a man on the streets asking for money, he was stabbed and while he was recovering in the hospital, met his lifelong companion, Suzanne Descheveaux-Dumesnil. • 1938 – “Murphy” became published. • 1940 – Joined the French Resistance, working as a courier. During the next two years he was almost caught by the Gestapo.

7. But first things first… • 1942 to 1944 – His unit was betrayed and he and Suzanne escaped south to Roussillon, a village in Vichy France. Awarded the Croix de Guerre and the Medaille de la Resistance by the French Government. • 1945 to 1950 – Returned to Paris and wrote Eleutheria, Waiting for Godot, Endgame, the novels Malloy, Malone Dies, The Unnamable, and Mercier et Camier, two books of short stories, and a book of criticism. • 1953 – Waiting For Godot premiered on January 5, at Theatre de Babylone. • 1957 – April 3, second masterpiece Endgame, premiered (in French) at the Royal Court Theatre in London. • 1969 – Received Nobel Prize for Literature. • 1989 – Passed away on December 22.

8. Loneliness • Beckett grew up to be a solitary person and unhappy in his youth. • Often depressed to a point where he would stay in bed until mid afternoon. • Loneliness became a recurrent theme in the play. • The main form of tension between Hamm and Clov, and their continuous battle against their obligations to leave one another for fear of being alone. • Exposed in their long monologues, both characters have expressed a sense of pain and sadness.

9. Death • He joined the French Resistance in 1940 and witnessed suffering and devastation first hand • . After his unit was betrayed, him and his wife, Suzanne fled to Vichy, France. • During this time of hiding and aftermath of the war he had begun to write numerous novels and plays. • The depressing atmosphere surrounding death and misery in Endgame was a reflection of Beckett’s experience during the Holocaust and wreck Normandy lands he had traveled through. • The death of his brother, Frank in 1954, caused Beckett emotional torment • the theme of “ending” in the play.

10. Theatre of the Absurd • Beckett is an essential element behind the French theatrical movement, the “Theatre of the Absurd”. • Came from the Existentialist philosophy, believing that life was absurd to a point beyond human rationality • Endgame demonstrates the concept of circulatory and non-meaning. Ex. When Hamm finally says our life may begin to have meaning and Clov laughs at that remark.

11. Chess • Beckett was an avid player of chess. • In the play, he drew major parallels to the game of chess with the endgame of life.

12. Endgame as a chess metaphor • In chess, the endgame represents the conclusion of the match. • Hamm,: the king, can barely move and must rely on others for support. • Clov : a pawn or knight, forced to do his masters bidding. • Nagg and Nell represent captured pieces no longer in play. • In this case both Clov and Hamm refuse to take any further actions to complete their game.

13. Neither can leave as the pieces are only alive and with purpose in the context of the game and board. • Neither can they end their own lives as in chess, the king cannot place himself in check and there are no other pieces available to take Clov.  • “Endgame” can be viewed as a prolonged endgame in a match of chess.

14. The Text and the chess metaphor • Kumar states that the chess metaphor is more analyzed than acknowledged. •   Beckett turned the rationality of the game into the irrationality of the Absurd. • “The game of ‘life’ is irrational, where the universe is the absurd, and mans fate is doubtful like that of a chessman” (Kumar 2). •   Beckett himself stated that the character of Hamm is "a king in a chess game . . .trying to delay the inevitable end." (Kumar 2)

15. The Text and the chess metaphor • The metaphor functions as a unifying element in linking the characters existence in the play as a void for nothingness. •   Beckett argued that any move from a chess piece weakens their position, and strength lies from not moving at all.  •   Beckett's ideal game: where none of the chess pieces were moved so that failure and loss were inevitable. (Kumar 2) •  Hamm's character as the King in the chess game: his moves do not progress at all.  •   As the King, he can only move one square at a time on the chess board • When he moves one bit  from his central spot, he has to go back. (Beckett 18-19.)

16. The Text and the chess metaphor • Note: the chess board has no central square where a chess piece can occupy. • Since there is no center this brings back the idea of nothingness and existence seen in the play. (Kumar 2) •  The appearance of a "small boy" toward the end of the play • Clov calling him a "potential procreator" states that Hamm will be checkmated by an enemy pawn which could bring the Queen - the most powerful chess piece - back  into play. • Clov being the lone knight is powerless. (Beckett 46-47.) (Kumar 6) •  When checkmated, " the King and other remaining pieces remain on the board." • Clov is never seen exiting from the stage because Hamm has been checkmated. (Kumar 6)

17. Does the game end on a checkmate or on a stalemate? • The meaning of the play hinges on Clov’s questionable departure • A checkmate would confront fatalism, provide a cure for existences • A stalemate on the other hand would continue this repetitive and cyclical existence where they just wait for death to end it all

18. Does the game end on a checkmate or on a stalemate? • Clov has the potential to undermine Hamm and leave him vulnerable and thus “ checkmate” would occur and it their cyclical existence is interrupted and there is relief • More evidence points towards a stalemate : • Theme of companionship • There is no world existing outside, its all about here and now, this is it , this is

19. Existentialist philosophy from the Theatre of the Absurd • “It is finished, it's nearly finished, it must be nearly finished”.

20. The Chess Metaphor put into practice • Take a look at the set up of the “endgame” in the actual game of chess • Compare it to the set and stage directions of Beckett’s play: • Hamm, somewhere near the center • Clov, when taking orders right by his side • The opposition, right outside of their play area (Little Boy) • Nell and Nagg, discarded pieces not on the broad at all. Raymond Keene : The Simon & Schuster book of Chess

21. The Chess Metaphor put into practice Keene says that the common theme of the endgame is to try and promote a pawn to Queen to ensure the win. In this particular set up, the black king will lose unless he can control the “queening” square: d8 The theory in this game is that white has won but careful play is critical. He agrees with Beckett: “the correct technique is for White to leave his pawn where it is , concentrate on driving the black king away from the d8 square” (112-113). Of course, Hamm does not follow this technique and has Clov move all over the place and even has Clov move him around.

22. The Chess Metaphor put into practice • Keene says that the common theme of the endgame is to try and promote a pawn to Queen to ensure the win. • In this particular set up, the black king will lose unless he can control the “queening” square: the d8 square in this case. • The theory in this game is that white has won but careful play is critical. • He agrees with Beckett: “the correct technique is for White to leave his pawn where it is and concentrate on driving the black king away from the d8 square” (112-113). • Of course, Hamm does not follow this technique and has Clov move all over the place and even has Clov move him around.

23. The Chess Metaphor put into practice • 2010 Production of Endgame by steppenwolf • Starring Ian Barford and William Petersen • Directed by Frank Galati

24. The Chess Metaphor put into practice

25. The Chess Metaphor put into practice http://endgameincambridge.tumblr.com/info Audio Presentation from steppenwolf explaining the themes behind “Endgame” and the Director’s interpretation • Artistic director Martha Leivy gives a very deep understanding and synopsis of the play. • Relationship b/w Clov and Hamm: “a closed loop” • Hamm’s parents are in trash bins, he asks them to appear and gets Clov to open the lids. • I“We are in Hamm’s head , watching him play out his endgame” • In the clip we see Hamm exerting his full power as King, ordering Clov, moving him about. • Clovis more interested in making Hamm believe he’s serving him properly than actually performing it • Their relationship is what decides the fate of the game, the power the King should have in the center is lost, he does not move his pawn with care.

26. The discussion with Martha Leivy and the director: performed in the audio program by Susan Miller and Tim McCarthy, respectively. • Frank Galati directed Endgame, having a thorough background of both Beckett and his play. • - Frank Galoti defined Theater of the Absurd as: “Our world torn apart” • In the audio piece: Martha discovered in the definition of endgame on Wikipedia suggests the king can become a powerful piece during the endgame if brought to the centre of the board. • Frank Galoti: “Beckett said that nothing is more frustrating than watching a chess game played by two incompetent payers: Hamm and Clov.

27. Hamm and Clov are the king and pawn in the game. • Toward the end of the play, The endgame is felt, this frustration and desire to see if the pawn will successfully take the king? (Leivy). • Clov is leaving, but will he do Hamm’s bidding? • The endgame is here, at the very end. Hamm and Clov are making their final moves that will decide the end. • But because Hamm has been playing badly all along, the inevitable end is that he has lost and will be forced to replay all over again.

28. Questions?

29. Works Cited Biography Base. 24 February 2011 <http://www.biographybase.com/biography/beckett_samuel.html>. Books and Writers. 2008. 24 February 2011 <http://kirjasto.sci.fi/beckett.htm>. Imagi-nation. 25 February 2011 <http://www.imagi-nation.com/moonstruck/clsc7.htm>. • Wikipedia. 24 February 2011. 26 February 2011 <http://en.wikipedia.org/wiki/Samuel_Beckett>.

30. Kumar, K. Jeevan. "The Chass Metaphor in Samuel Beckett's Endgame" •    Modern Drama 40.4 (1997): 540 - 552. 4 Feb. 2011 <http://find.galegroup.com.myaccess.library.utoronto.ca/gtx/infomark.do?action=interpret&contentSet=IAC- • Documents&type=retrieve&tabID=T002&prodId=ITOF&docId=A20472915&source=gale&srcprod=ITOF&version=1.0&userGroupName=utoronto_main&finalAuth=true>.

31. “Samuel Beckett Biography.” Biography Base. 24 February 2011 <http://www.biographybase.com/biography/beckett_samuel.html>. "Samuel (Barclay) Beckett." Books and Writers. 2008. 24 February 2011 <http://kirjasto.sci.fi/beckett.htm>. "Samuel Beckett."Imagi-nation. 25 February 2011 <http://www.imagi-nation.com/moonstruck/clsc7.htm>. "Endgame." Sparknotes. 2011. 26 February 2011 <http://www.sparknotes.com/drama/endgame/themes.html>. "Samuel Beckett." Wikipedia. 24 February 2011. 26 February 2011 <http://en.wikipedia.org/wiki/Samuel_Beckett>.

32. Leivy, Martha, Susan Miller, Tim McCarthy. “steppenwolf audio program: Endgame.” Steppenwolf . 2010 http://www.steppenwolf.org/boxoffice/productions/index.aspx?id=477> Galati, Frank. “Endgame” commercial. Steppenwolf. 2010 http://endgameincambridge.tumblr.com/info> Keene, Raymond. The Simon & Schuster Pockt Book of Chess. New York: Simon & Schuster Inc. 1988.