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丕賱兀賷丕賲 丕賱爻毓賷丿丞
"亘爻丕胤賹 賲賳 丕賱毓卮亘 丕賱賲丨乇賵賯 賷乇鬲賮毓 毓賳丿 賲乇賰夭賴 賮賷 卮賰賱 鬲賱賺賾. 賲賳丨丿乇丕鬲 禺賮賷賮丞 毓賳 賷賲賷賳賽 禺卮亘丞 丕賱賲爻乇丨 賵卮賲丕賱賴貙 賵賰匕丕 賮賷 賲賯丿賾賲鬲賴. 賵賮賷 丕賱禺賱賮 - 毓賱賶 賲爻鬲賵賶 丕賱賲卮賴丿 - 賲賳禺賮賻囟賹 兀卮丿 丕賳丨丿丕乇賸丕. 賵賷賳亘睾賷 丕毓鬲賲丕丿 兀賯氐賶 丿乇噩丞 賲賲賰賳丞 賲賳 丕賱亘爻丕胤丞 賵丕賱鬲賳丕爻賯 (丕賱鬲賲丕孬賱).
囟賵亍賹 賷毓賲賷 丕賱兀亘氐丕乇.
賱賵丨丞賹 賮賷 丕賱禺賱賮賷丞 賱賱廿賷賴丕賲 丕賱亘氐乇賷 (賵丕囟丨賹 賮賷賴丕 丕賱丕丿賾毓丕亍 賵丕賱鬲賰賱賾賮)貙 鬲賲孬賽賾賱購 丕賲鬲丿丕丿賻 爻賲丕亍 禺丕賱賷丞 賲賳 丕賱睾賷賵賲 賵爻賴賱賸丕 毓丕乇賷賸丕貙 賵丕賱鬲賯丕亍賻賴賲丕 賮賷 丕賱亘毓賷丿. 賵賷賳賷貙 賲丿賮賵賳丞 丨鬲賶 禺氐乇賴丕 賮賷 丕賱鬲賱貙 賮賷 賲乇賰夭賴 鬲丨丿賷丿賸丕. 賮賷 丕賱禺賲爻賷賳 賲賳 毓賲乇賴丕. 亘賴丕 兀孬乇賹 賲賳 噩賲丕賱賺. 賷賮囟賻賾賱 兀賳 鬲賰賵賳 卮賯乇丕亍貙 賲賲鬲賱卅丞 丕賱噩爻賲貙 毓丕乇賷丞 丕賱匕乇丕毓賷賳 賵丕賱賰鬲賮賷賳貙 鬲乇鬲丿賷 氐丿丕乇賸丕 賲賰卮賵賮賸丕 噩丿賸賾丕貙 氐丿乇賴丕 賲賲鬲賱卅 賵鬲囟毓 毓賯丿賸丕 賲賳 丕賱賱丐賱丐. 鬲賳丕賲購 賵丕囟毓丞賸 匕乇丕毓賷賴丕 毓賱賶 丕賱鬲賱賽賾貙 賵乇兀爻賻賴丕 毓賱賶 匕乇丕毓賷賴丕. 亘噩丕賳亘賴丕貙 毓賳 卮賲丕賱賴丕 賰賷爻賹 兀爻賵丿購 賰亘賷乇貙 賲賳 氐賳賮 兀賰賷丕爻 丕賱鬲爻賵賯 (賯賮賾丞)貙 賵毓賳 賷賲賷賳賴丕 賲馗賱丞 賲賯亘囟賴丕 賲賱賲賵賲賹 廿賶賱 丕賱丿丕禺賱貙 賮賱丕 賷購乇賶 賲賳賴丕 爻賵賶 賯亘囟鬲賴 丕賱鬲賷 賴賷 毓賱賶 卮賰賱 賯賮賱 丕賱亘丕亘.
賵禺賱賮賴丕 賲賳 丕賱賷賲賷賳貙 賷乇賯丿購 賵賷賱賷 毓賱賶 丕賱兀乇囟貙 賳丕卅賲賸丕貙 賷丨噩亘賴購 丕賱鬲賱購賾"
囟賵亍賹 賷毓賲賷 丕賱兀亘氐丕乇.
賱賵丨丞賹 賮賷 丕賱禺賱賮賷丞 賱賱廿賷賴丕賲 丕賱亘氐乇賷 (賵丕囟丨賹 賮賷賴丕 丕賱丕丿賾毓丕亍 賵丕賱鬲賰賱賾賮)貙 鬲賲孬賽賾賱購 丕賲鬲丿丕丿賻 爻賲丕亍 禺丕賱賷丞 賲賳 丕賱睾賷賵賲 賵爻賴賱賸丕 毓丕乇賷賸丕貙 賵丕賱鬲賯丕亍賻賴賲丕 賮賷 丕賱亘毓賷丿. 賵賷賳賷貙 賲丿賮賵賳丞 丨鬲賶 禺氐乇賴丕 賮賷 丕賱鬲賱貙 賮賷 賲乇賰夭賴 鬲丨丿賷丿賸丕. 賮賷 丕賱禺賲爻賷賳 賲賳 毓賲乇賴丕. 亘賴丕 兀孬乇賹 賲賳 噩賲丕賱賺. 賷賮囟賻賾賱 兀賳 鬲賰賵賳 卮賯乇丕亍貙 賲賲鬲賱卅丞 丕賱噩爻賲貙 毓丕乇賷丞 丕賱匕乇丕毓賷賳 賵丕賱賰鬲賮賷賳貙 鬲乇鬲丿賷 氐丿丕乇賸丕 賲賰卮賵賮賸丕 噩丿賸賾丕貙 氐丿乇賴丕 賲賲鬲賱卅 賵鬲囟毓 毓賯丿賸丕 賲賳 丕賱賱丐賱丐. 鬲賳丕賲購 賵丕囟毓丞賸 匕乇丕毓賷賴丕 毓賱賶 丕賱鬲賱賽賾貙 賵乇兀爻賻賴丕 毓賱賶 匕乇丕毓賷賴丕. 亘噩丕賳亘賴丕貙 毓賳 卮賲丕賱賴丕 賰賷爻賹 兀爻賵丿購 賰亘賷乇貙 賲賳 氐賳賮 兀賰賷丕爻 丕賱鬲爻賵賯 (賯賮賾丞)貙 賵毓賳 賷賲賷賳賴丕 賲馗賱丞 賲賯亘囟賴丕 賲賱賲賵賲賹 廿賶賱 丕賱丿丕禺賱貙 賮賱丕 賷購乇賶 賲賳賴丕 爻賵賶 賯亘囟鬲賴 丕賱鬲賷 賴賷 毓賱賶 卮賰賱 賯賮賱 丕賱亘丕亘.
賵禺賱賮賴丕 賲賳 丕賱賷賲賷賳貙 賷乇賯丿購 賵賷賱賷 毓賱賶 丕賱兀乇囟貙 賳丕卅賲賸丕貙 賷丨噩亘賴購 丕賱鬲賱購賾"
61 pages, Paperback
First published January 1, 1961
71 people are currently reading
6,261 people want to read
About the author
Samuel Beckett
842听books6,336听followersSamuel Barclay Beckett was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in France for most of his adult life. He wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.
Beckett is widely regarded as among the most influential writers of the 20th century. Strongly influenced by James Joyce, he is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the "Theatre of the Absurd". His work became increasingly minimalist in his later career.
Beckett was awarded the 1969 Nobel Prize in Literature "for his writing, which鈥攊n new forms for the novel and drama鈥攊n the destitution of modern man acquires its elevation". In 1984 he was elected Saoi of Aosd谩na.
Beckett is widely regarded as among the most influential writers of the 20th century. Strongly influenced by James Joyce, he is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the "Theatre of the Absurd". His work became increasingly minimalist in his later career.
Beckett was awarded the 1969 Nobel Prize in Literature "for his writing, which鈥攊n new forms for the novel and drama鈥攊n the destitution of modern man acquires its elevation". In 1984 he was elected Saoi of Aosd谩na.
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Displaying 1 - 30 of 372 reviews
April 2, 2025
I think Sam Beckett wrote this masterpiece in the vain hope of exorcising the demons his control-freak old Mum implanted in him. From the tenor of his later plays, one can only imagine it worked for a while.
That's good as far as it goes, but it never evicted his Black Dog of Despair along with the rue she seems to have instilled in his heart. And "le Coeur a ses raisons que l'esprit ne connais point!" You can't be right when you're wrong.
I know, I BELIEVED as a kid - and I still do, due to my autistic traces - that my Heart Was Always Right. So I still love Mom and Dad with all my heart. That'll get you peace of mind if you do it too.
Beckett seems to DISDAIN the memories of his own "Winnie and Willie." But you can't be right when you're wrong...
Forgive, and OPEN UP A FRESH NEW CHAPTER IN YOUR LIFE!
So, of course by now, you Know where I'm coming from:
I AM Winnie.To a T. I always try to see the Bright Side!
Nor am I ashamed of it.
And I left Beckett "wrestling with the devil of the stairs who wears the deceitful face of hope and despair," as I ascended the Third Staircase. You can see that reference in the poem Ash Wednesday online...
But I left him in his pain.
***
But now a similar pain often plagues me, in my own elderly years, and it - like Beckett's pain - arises from the Same Compassion that fuelled his oeuvre -
The compassion of a heart broken over mankind's madness -
But WITHOUT any black despair.
For our pain and heartbreak will ALL come out in the Wash...
When Love regains its Throne, as it does here - however lonely and misused it is - in Happy Days.
For Beckett always makes our abject horror of modernity and its futile modern internecine warfare the Ground of Wide Awake Grace!
That's good as far as it goes, but it never evicted his Black Dog of Despair along with the rue she seems to have instilled in his heart. And "le Coeur a ses raisons que l'esprit ne connais point!" You can't be right when you're wrong.
I know, I BELIEVED as a kid - and I still do, due to my autistic traces - that my Heart Was Always Right. So I still love Mom and Dad with all my heart. That'll get you peace of mind if you do it too.
Beckett seems to DISDAIN the memories of his own "Winnie and Willie." But you can't be right when you're wrong...
Forgive, and OPEN UP A FRESH NEW CHAPTER IN YOUR LIFE!
So, of course by now, you Know where I'm coming from:
I AM Winnie.To a T. I always try to see the Bright Side!
Nor am I ashamed of it.
And I left Beckett "wrestling with the devil of the stairs who wears the deceitful face of hope and despair," as I ascended the Third Staircase. You can see that reference in the poem Ash Wednesday online...
But I left him in his pain.
***
But now a similar pain often plagues me, in my own elderly years, and it - like Beckett's pain - arises from the Same Compassion that fuelled his oeuvre -
The compassion of a heart broken over mankind's madness -
But WITHOUT any black despair.
For our pain and heartbreak will ALL come out in the Wash...
When Love regains its Throne, as it does here - however lonely and misused it is - in Happy Days.
For Beckett always makes our abject horror of modernity and its futile modern internecine warfare the Ground of Wide Awake Grace!
January 15, 2025
Read this and then watched the Broadway Theatre Archive production featuring Irene Worth. One of the most depressing works I have ever had the opportunity to encounter. There is much debate as to the meaning of the play - here is my interpretation: by 'grounding' ourselves into a 'happy' existence we are actually subordinating our essence...and that will ultimately destroy who we really were becoming. "I have measured out my life with coffee spoons" is the way most of us will pass from our existence...most of us will not even "...rage against the dying of the light" because our light died long before we did - metaphysical zombies. No more talk of Mr. Beckett until after Christmas...(something tells me Mr. Beckett would have LOVED to be the top elf for Krampus!)
February 14, 2019
I still remember the first time I ever got to read a play, it was Arthur Miller's Death of a Salesman, of which I thought was only OK, not because it wasn't any good, but because I so wanted to see it performed, reading any play isn't going to be anywhere near as good as seeing it with one's own eyes up on the stage. I said to myself I will never read another play again so help me God. However, over time, I asked myself the question - realistically, how many plays am I ever going to see? I've seen a few pretty amateurish productions, but the chances are most of the great plays I will simply never get to witness. So then, the next best thing is to read them, that's a no brainer. Sixty-five plays I have later, and along comes Beckett's Happy Days.
I knew he had his roots in creating oddly absurd, existential and avant-garde theatre from reading a couple of his other plays, but nothing prepared me for just how engaging Happy Days would turn out to be. The play tells the story of Winnie 鈥� a lonely, desolate, compulsive talker, who is stuck for unknown reasons up to her waist in a mound of earth, whilst her husband, Willie, an almost muted hermit, remains pretty much hidden. Each day begins the same as any any other, triggered by the strident sound of a bell. Winnie then begins her routine in a very meticulous and exact way. Cleaning herself, checking her belongings, speaking aloud to Willie and herself, enduring the baking hot sun. This behaviour is moulded throughout with a sense of tragicomedy, but it's also somewhat mind-bending. Things carry on this way until act number 2, where Winnie is now buried up to her neck.
Beckett's play is largely thought to be about marriage, and the title 鈥楬appy Days鈥� is very much an ironic label. Reading the play I found a number of other themes and metaphors that could easily be applied. Considering the main character is physically stuck the whole time, there is actually a great deal of liveliness. Indeed, Beckett鈥檚 stage directions are so frequent and so prescriptive, that Winnie鈥檚 actions are just as important as her words.
Beckett gets the thumbs up from me. Happy Days!.
I knew he had his roots in creating oddly absurd, existential and avant-garde theatre from reading a couple of his other plays, but nothing prepared me for just how engaging Happy Days would turn out to be. The play tells the story of Winnie 鈥� a lonely, desolate, compulsive talker, who is stuck for unknown reasons up to her waist in a mound of earth, whilst her husband, Willie, an almost muted hermit, remains pretty much hidden. Each day begins the same as any any other, triggered by the strident sound of a bell. Winnie then begins her routine in a very meticulous and exact way. Cleaning herself, checking her belongings, speaking aloud to Willie and herself, enduring the baking hot sun. This behaviour is moulded throughout with a sense of tragicomedy, but it's also somewhat mind-bending. Things carry on this way until act number 2, where Winnie is now buried up to her neck.
Beckett's play is largely thought to be about marriage, and the title 鈥楬appy Days鈥� is very much an ironic label. Reading the play I found a number of other themes and metaphors that could easily be applied. Considering the main character is physically stuck the whole time, there is actually a great deal of liveliness. Indeed, Beckett鈥檚 stage directions are so frequent and so prescriptive, that Winnie鈥檚 actions are just as important as her words.
Beckett gets the thumbs up from me. Happy Days!.
March 15, 2017
螤蟻喂谓 伪蟺蠈 渭委伪 蠋蟻伪 蟺蔚蟻委蟺慰蠀 蟿蔚位蔚委蠅蟽伪 伪蟺谓蔚蠀蟽蟿委 蟿喂蟼 芦螘蠀蟿蠀蠂喂蟽渭苇谓蔚蟼 螠苇蟻蔚蟼禄 蟿慰蠀 危. 螠蟺苇魏蔚蟿 魏伪喂 畏 伪蟺蠈蠁伪蟽畏 渭慰蠀 谓伪 纬蟻维蠄蠅 伪渭苇蟽蠅蟼 纬喂鈥� 伪蠀蟿蠈 蟿慰 苇蟻纬慰 萎蟿伪谓 伪蟺慰位蠉蟿蠅蟼 蟽蠀谓蔚喂未畏蟿萎. 螘委谓伪喂 渭委伪 渭喂魏蟻萎 蟺蟻慰蟽蟺维胃蔚喂伪 谓伪 魏蟻伪蟿萎蟽蠅 魏维蟿喂 伪蟺蠈 蠈位畏 伪蠀蟿萎 蟿畏谓 渭伪纬蔚委伪 魏伪喂 蟿畏谓 伪委蟽胃畏蟽畏 蟺位畏蟻蠈蟿畏蟿伪蟼 蟺慰蠀 蟽蔚 魏伪蟿伪魏位蠉味蔚喂 蠈蟿伪谓 尉苇蟻蔚喂蟼 蠈蟿喂 渭蠈位喂蟼 苇蠂蔚喂蟼 未喂伪尾维蟽蔚喂 苇谓伪 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪. 螒蟼 蟿伪 蟺维蟻慰蠀渭蔚 蠈渭蠅蟼 蟿伪 蟺蟻维纬渭伪蟿伪 伪蟺蠈 蟿畏谓 伪蟻蠂萎 位苇纬慰谓蟿伪蟼 未蠀慰 位蠈纬喂伪 纬喂伪 蟿畏谓 蟺位慰魏萎.
螠委伪 纬蠀谓伪委魏伪, 纬蠉蟻蠅 蟽蟿伪 蟺蔚谓萎谓蟿伪, 畏 螕慰蠀委谓谓喂 ,蟺慰蠀 蔚委谓伪喂 胃伪渭渭苇谓畏 蠅蟼 蟿畏谓 渭苇蟽畏, 魏慰喂渭维蟿伪喂 魏伪喂 尉蠀蟺谓维蔚喂 魏伪胃畏渭蔚蟻喂谓维 伪蟺蠈 蟿慰谓 蔚蟺委渭慰谓慰 萎蠂慰 蔚谓蠈蟼 魏慰蠀未慰蠀谓喂慰蠉 蟺慰蠀 蟽畏渭伪蟿慰未慰蟿蔚委 蟿畏谓 苇谓伪蟻尉畏/位萎尉畏 渭委伪蟼 伪魏蠈渭伪 畏渭苇蟻伪蟼.听 韦慰 渭慰谓伪未喂魏蠈 蟺蟻维纬渭伪 蟺慰蠀 蠀蟺维蟻蠂蔚喂 未委蟺位伪 蟿畏蟼 蔚委谓伪喂 渭委伪 渭伪蠉蟻畏 蟿蟽维谓蟿伪 伪蟺蠈 蟿畏谓 慰蟺慰委伪, 魏伪蟿维 未喂伪蟽蟿萎渭伪蟿伪, 伪谓伪蟽蠉蟻蔚喂 未喂伪蠁蠈蟻蠅谓 蔚喂未蠋谓 伪谓蟿喂魏蔚委渭蔚谓伪, 蟿伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 蟺伪位喂维 魏伪喂 蟿伪位伪喂蟺蠅蟻畏渭苇谓伪. 螝维蟺慰蠀 蟽蟿慰 尾维胃慰蟼, 蔚位维蠂喂蟽蟿伪 蟺伪蟻蠋谓 魏伪喂 慰渭喂位畏蟿喂魏蠈蟼, 尾蟻委蟽魏蔚蟿伪喂 慰 蟽蠉味蠀纬蠈蟼 蟿畏蟼, 慰 螕慰蠀委位位喂, 蠂蠅渭苇谓慰蟼 蟽蟿慰 未喂魏蠈 蟿慰蠀 位伪纬慰蠉渭喂 蠂蠅蟻委蟼 慰 苇谓伪蟼 谓伪 尾位苇蟺蔚喂 蟿慰谓 维位位慰谓.
螝维谓慰谓蟿伪蟼 渭委伪 蟽蠉谓蟿慰渭畏 苇蟻蔚蠀谓伪 纬蠉蟻蠅 伪蟺蠈 蟿慰 苇蟻纬慰, 伪谓伪蠁苇蟻蔚蟿伪喂 蟽蠀蠂谓维 蠈蟿喂 蟽蔚 渭委伪 蟽蠀味萎蟿畏蟽畏 纬蠉蟻蠅 伪蟺蠈 蟿喂蟼 螘蠀蟿蠀蠂喂蟽渭苇谓蔚蟼 螠苇蟻蔚蟼, 慰 螠蟺苇魏蔚蟿 喂蟽蠂蠀蟻委蟽蟿畏魏蔚 蠈蟿喂 蟿慰 渭慰谓伪未喂魏蠈 蟺位维蟽渭伪 蟺慰蠀 胃伪 维谓蟿蔚蠂蔚 谓伪 蠀蟺慰渭蔚委谓蔚喂 蠈位畏 伪蠀蟿萎 蟿畏谓 未慰魏喂渭伪蟽委伪 蔚委谓伪喂 畏 纬蠀谓伪委魏伪. 听螕喂伪 谓伪 蔚委渭伪喂 蔚喂位喂魏蟻喂谓萎蟼 蠈渭蠅蟼 未蔚谓 尉苇蟻蠅 魏伪蟿维 蟺蠈蟽慰 伪谓伪蠁蔚蟻蠈蟿伪谓 蟽蟿畏谓 魏伪蟿维蟽蟿伪蟽畏 蟺慰蠀 尾位苇蟺慰蠀渭蔚 蟺维谓蠅 蟽蟿畏谓 蟽魏畏谓萎 萎 蟽蟿慰谓 蟽蠀渭尾慰位喂蟽渭蠈 蟺慰蠀 魏蟻蠉尾蔚喂 魏伪喂 畏 蟽魏畏谓萎 伪蠀蟿萎 魏伪胃鈥� 蔚伪蠀蟿萎. 韦慰 委未喂慰 蟿慰 苇蟻纬慰 维位位蠅蟽蟿蔚 尾蟻委胃蔚喂 蟽蠀渭尾慰位喂蟽渭蠋谓 魏伪喂 谓慰畏渭维蟿蠅谓.
螠蔚 蟿喂蟼 螘蠀蟿蠀蠂喂蟽渭苇谓蔚蟼 螠苇蟻蔚蟼 慰 螠蟺苇魏蔚蟿 蟺蟻慰蟽蔚纬纬委味蔚喂 渭慰谓伪未喂魏维 蟿畏谓 伪蟺慰渭蠈谓蠅蟽畏 蟺慰蠀 蔚蟺苇蟻蠂蔚蟿伪喂 蟽蟿慰 味蔚蠀纬维蟻喂 魏维蟿蠅 伪蟺蠈 蟿慰 尾维蟻慰蟼 渭委伪蟼 伪未蠀蟽蠋蟺畏蟿伪 渭慰谓蠈蟿慰谓畏蟼 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪蟼 听畏 慰蟺慰委伪 伪蟺慰未委未蔚蟿伪喂 蟽蔚 蟿蟻蔚喂蟼 纬蟻伪渭渭苇蟼, 蟺慰蠀 蠈蟺慰喂慰蟼 蟿喂蟼 苇蠂蔚喂 伪喂蟽胃伪谓胃蔚委, 胃伪 蟿慰谓 蟽蟿慰喂蠂蔚喂蠋谓慰蠀谓 纬喂伪 蟺慰位蠉 魏伪喂蟻蠈:
芦螣蠉蟿蔚 魏伪位蠉蟿蔚蟻伪
螣蠉蟿蔚 蠂蔚喂蟻蠈蟿蔚蟻伪
螣蠉蟿蔚 伪位位伪纬萎.禄
听
螚 渭苇蟻伪 渭维位喂蟽蟿伪 蟺慰蠀 慰 螕慰蠀委位位喂 胃伪 伪蟺慰蠁伪蟽委蟽蔚喂 谓伪 蟿畏蟼 伪蟺蔚蠀胃蠉谓蔚喂 苇蟽蟿蠅 魏伪喂 未蠉慰 位苇尉蔚喂蟼, 蔚委谓伪喂 纬喂伪 蔚魏蔚委谓畏 渭委伪 蟺蟻伪纬渭伪蟿喂魏维 蔚蠀蟿蠀蠂喂蟽渭苇谓畏 渭苇蟻伪.
芦惟 蔚蟽蠉 位慰喂蟺蠈谓 胃伪 渭慰蠀 渭喂位萎蟽蔚喂蟼 蟽萎渭蔚蟻伪,
惟 伪蠀蟿蠈蟼 胃伪 渭慰蠀 渭喂位萎蟽蔚喂 蟽萎渭蔚蟻伪,
螠委伪 蔚蠀蟿蠀蠂喂蟽渭苇谓畏 渭苇蟻伪 苇蟻蠂蔚蟿伪喂!禄
螒蠀蟿萎 畏 伪谓蟿委胃蔚蟽畏 伪谓维位伪蠁蟻慰蠀 蟿蠈谓慰蠀- 蟽魏位畏蟻慰蠉 谓慰萎渭伪蟿慰蟼 渭蔚 蟽蠈魏伪蟻蔚 魏伪喂 渭鈥� 苇魏伪谓蔚 谓伪 胃伪蠀渭维蟽蠅 伪魏蠈渭伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟿慰谓 螠蟺苇魏蔚蟿. 螔位苇蟺慰蠀渭蔚 渭委伪 纬蠀谓伪委魏伪 谓伪 蔚委谓伪喂 蟿蟻喂蟽蔚蠀蟿蠀蠂喂蟽渭苇谓畏 伪蟺位维 魏伪喂 渭蠈谓慰 蔚蟺蔚喂未萎 慰 维谓蟿蟻伪蟼 蟿畏蟼 伪蠁喂苇蟻蠅蟽蔚 未蠉慰 位蔚蟺蟿维, 委蟽蠅蟼 魏伪喂 位喂纬蠈蟿蔚蟻慰, 纬喂伪 谓伪 蟿畏谓 伪魏慰蠉蟽蔚喂 魏伪喂 尉苇蟻慰蠀渭蔚 蠈蟿喂 伪蠀蟿蠈 蟽蠀渭尾伪委谓蔚喂 蟽蔚 蟿蠈蟽伪 蟽蟺委蟿喂伪, 蟽蔚 蟿蠈蟽伪 味蔚蠀纬维蟻喂伪.
螘魏蔚委谓畏 伪蟺蠈 蟿畏谓 蟺位蔚蠀蟻维 蟿畏蟼 蠁伪委谓蔚蟿伪喂 谓伪 苇蠂蔚喂 蟺位萎蟻畏 蔚蟺委纬谓蠅蟽畏 蟿畏蟼 魏伪蟿维蟽蟿伪蟽畏蟼 纬喂鈥� 伪蠀蟿蠈 魏伪喂 蟿慰谓 蟺伪蟻伪魏伪位维蔚喂 谓伪 伪魏慰蠉蔚喂 苇蟽蟿蠅 魏伪喂 蟿伪 渭喂蟽维 伪蟺鈥� 蠈蟽伪 位苇蔚喂. 螒魏蠈渭伪 魏喂 伪谓 苇蠂伪蟽蔚 纬喂伪 蟺维谓蟿伪 苇谓伪谓 蟽蠀谓慰渭喂位畏蟿萎, 蟺蟻慰蟽蟺伪胃蔚委 渭蔚 魏维胃蔚 渭苇蟽慰 谓伪 魏蟻伪蟿萎蟽蔚喂 蟿慰蠀位维蠂喂蟽蟿慰谓 苇谓伪谓 蠀蟺慰蟿蠀蟺蠋未畏 伪魏蟻慰伪蟿萎. 螒蠀蟿蠈谓 蟺慰蠀 蟺伪蟻伪渭苇谓蔚喂 慰 维谓蟿蟻伪蟼 蟿畏蟼 魏伪喂 蟺慰蠀 魏维蟺慰蟿蔚, 蠈蟺蠅蟼 伪谓伪蠁苇蟻蔚喂 蟽蔚 伪谓蠉蟺慰蟺蟿慰 蠂蟻蠈谓慰,听 蟿畏谓 伪纬维蟺畏蟽蔚 蟺慰位蠉, 蟿蠋蟻伪 蟿畏蟼 伪蟻魏蔚委 伪蟺位维 谓伪 尾蟻委蟽魏蔚蟿伪喂 芦蟽蔚 伪魏蟿委谓伪 伪魏慰萎蟼禄.
螖蔚谓 渭蟺慰蟻慰蠉渭蔚 谓伪 尉苇蟻慰蠀渭蔚 蟺蠋蟼 魏伪喂 纬喂伪蟿委 伪蠀蟿萎 畏 纬蠀谓伪委魏伪 尾蟻苇胃畏魏蔚 魏伪位蠀渭渭苇谓畏 蠅蟼 蟿畏谓 渭苇蟽畏, 伪委蟽胃畏蟽畏 渭慰蠀 蠈渭蠅蟼 蔚委谓伪喂 蠈蟿喂 伪蠀蟿蠈 蟽蟿慰 慰蟺慰委慰 尾慰蠀位喂维味蔚喂 蔚委谓伪喂 畏 委未喂伪 畏 味蠅萎 蟺慰蠀 渭苇蟻伪-渭苇蟻伪 纬位喂蟽蟿蟻维蔚喂 伪蟺蠈 蟿伪 蠂苇蟻喂伪 蟿畏蟼. 螕委谓蔚蟿伪喂 魏位蔚蠄蠉未蟻伪 蟿慰蠀 委未喂慰蠀 蟿慰蠀 蠂蟻蠈谓慰蠀 蟺慰蠀 蟿畏蟼 伪蟺慰渭苇谓蔚喂 蟽蔚 伪蠀蟿蠈谓 蟿慰谓 魏蠈蟽渭慰 未喂伪蟿畏蟻蠋谓蟿伪蟼 渭委伪 蠁伪喂谓慰渭蔚谓喂魏维 伪渭苇蟻喂渭谓畏 蟺蟻慰蟽苇纬纬喂蟽畏 伪蟺苇谓伪谓蟿喂 蟽蟿慰 伪谓伪蟺蠈蠁蔚蠀魏蟿慰.
螚 螕慰蠀委谓谓喂 蔚委谓伪喂 伪蟺蠈 蟿喂蟼 蟺喂慰 伪尉喂伪纬维蟺畏蟿蔚蟼 畏蟻蠅委未蔚蟼 蟺慰蠀 苇蠂蠅 蟽蠀谓伪谓蟿萎蟽蔚喂 蟿蠈蟽慰 蟽蔚 胃蔚伪蟿蟻喂魏维 苇蟻纬伪, 蠈蟽慰 魏伪喂 蟽蔚 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪. 螠蔚 蠈位伪 蟿伪 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏维 蟿畏蟼 渭蔚蟽萎位喂魏畏蟼 纬蠀谓伪委魏伪蟼, 蠈蟺蠅蟼 畏 蟺慰位蠀位慰纬委伪, 畏 蟽蠀谓蔚喂蟻渭喂魏萎 蟽魏苇蠄畏 魏伪喂 渭委伪蟼 蟺伪位喂维蟼 魏慰蟺萎蟼 魏慰魏蔚蟿伪蟻委伪, 蟽慰蠀 纬蔚谓谓维蔚喂 渭蠈谓慰 蟿蟻蠀蠁蔚蟻维 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 魏喂 苇谓伪 伪渭蠀未蟻蠈 蟽蠀谓伪委蟽胃畏渭伪 蟿伪蠉蟿喂蟽畏蟼 纬喂伪蟿委 尉苇蟻蔚喂蟼 蠈蟿喂 渭慰喂蟻伪委伪 胃伪 尾蟻蔚胃蔚委蟼 蟽蟿畏谓 胃苇蟽畏 蟿畏蟼. 螝维胃蔚 渭苇蟻伪 蔚委谓伪喂 蔚魏蔚委, 蟽蔚 伪蠀蟿蠈谓 蟿慰谓 位蠈蠁慰 渭苇蟽伪 蟽蟿慰谓 慰蟺慰委慰 尾慰蠀位喂维味蔚喂 (萎未畏 蟽蟿畏谓 未蔚蠉蟿蔚蟻畏 蟽魏畏谓萎 蔚委谓伪喂 魏伪位蠀渭渭苇谓畏 渭苇蠂蟻喂 蟿慰谓 位伪喂渭蠈) 蟺蟻慰蟽蟺伪胃蠋谓蟿伪蟼 谓伪 蠁伪委谓蔚蟿伪喂 伪渭苇蟻喂渭谓畏, 谓伪 渭喂位维蔚喂 纬喂伪 蟿慰 蟺伪蟻蔚位胃蠈谓, 纬喂伪蟿委 渭蠈谓慰 伪蠀蟿蠈 苇蠂蔚喂, 蠂蠅蟻委蟼 蠈渭蠅蟼 谓伪 魏维谓蔚喂 渭蔚纬维位畏 蟽蟺伪蟿维位畏 位苇尉蔚蠅谓.
螣喂 位苇尉蔚喂蟼, 渭伪味委 渭蔚 蟿畏谓 渭伪蠉蟻畏 蟿蟽维谓蟿伪, 蠁伪委谓蔚蟿伪喂 谓伪 蔚委谓伪喂 蟿慰 渭慰谓伪未喂魏蠈 蟿畏蟼 蠈蟺位慰 伪蟺苇谓伪谓蟿喂 蟽蔚 伪蠀蟿萎 蟿畏谓 渭慰谓蠈蟿慰谓畏 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪. 螚 蟺蔚委蟻伪 蠈渭蠅蟼 蟺慰蠀 魏慰蠀尾伪位维蔚喂, 蟿畏蟼 苇蠂蔚喂 渭维胃蔚喂 蠈蟿喂 蟺蟻苇蟺蔚喂 谓伪 蠂蟻畏蟽喂渭慰蟺慰喂慰蠉谓蟿伪喂 渭蔚 蟽蠉谓蔚蟽畏 魏伪喂 谓伪 渭畏谓 纬委谓蔚蟿伪喂 伪位蠈纬喂蟽蟿畏 蟽蟺伪蟿维位畏 纬喂伪蟿委 蟿蠈蟿蔚 胃伪 尾蟻蔚胃蔚委 伪谓蟿喂渭苇蟿蠅蟺畏 渭蔚 蟿畏谓 伪蟺蠈位蠀蟿畏 渭慰谓伪尉喂维.
听芦螞苇尉蔚喂蟼, 位苇尉蔚喂蟼, 位苇尉蔚喂蟼, 慰喂 位苇尉蔚喂蟼 蠁胃委谓慰蠀谓
螣喂 位苇尉蔚喂蟼 伪未蠀谓伪蟿委味慰蠀谓 蔚尉伪蟽胃蔚谓慰蠉谓 蔚尉伪谓蟿位慰蠉谓蟿伪喂 蟿蔚位蔚喂蠋谓慰蠀谓
螣喂 位苇尉蔚喂蟼 伪蟺慰蟿蠀纬蠂维谓慰蠀谓 伪蟺慰纬慰畏蟿蔚蠉慰蠀谓 蟺蟻慰未委未慰蠀谓
螣喂 位苇尉蔚喂蟼 蠁胃蔚委蟻慰谓蟿伪喂, 蠁胃委谓慰蠀谓
螣喂 位苇尉蔚喂蟼 蟽蔚 蟺伪蟻伪蟿慰蠉谓,
螘委谓伪喂 蠁慰蟻苇蟼 蟺慰蠀 伪魏蠈渭伪 魏伪喂 伪蠀蟿苇蟼 蟽蔚 蔚纬魏伪蟿伪位蔚委蟺慰蠀谓.禄
韦慰谓 魏蠉蟻喂慰 螠蟺苇魏蔚蟿 尾苇尾伪喂伪 未蔚谓 蟿慰谓 蔚纬魏伪蟿苇位蔚喂蠄伪谓 蟽蟿喂纬渭萎 蟽蔚 伪蠀蟿蠈 蟿慰 苇蟻纬慰. 螤蔚蟻喂蟿蟿蠈 谓伪 蟺蠅 蠈蟿喂 蟽伪蟼 蟿慰 蟽蠀蟽蟿萎谓蠅 伪谓蔚蟺喂蠁蠉位伪魏蟿伪.
听
螠委伪 纬蠀谓伪委魏伪, 纬蠉蟻蠅 蟽蟿伪 蟺蔚谓萎谓蟿伪, 畏 螕慰蠀委谓谓喂 ,蟺慰蠀 蔚委谓伪喂 胃伪渭渭苇谓畏 蠅蟼 蟿畏谓 渭苇蟽畏, 魏慰喂渭维蟿伪喂 魏伪喂 尉蠀蟺谓维蔚喂 魏伪胃畏渭蔚蟻喂谓维 伪蟺蠈 蟿慰谓 蔚蟺委渭慰谓慰 萎蠂慰 蔚谓蠈蟼 魏慰蠀未慰蠀谓喂慰蠉 蟺慰蠀 蟽畏渭伪蟿慰未慰蟿蔚委 蟿畏谓 苇谓伪蟻尉畏/位萎尉畏 渭委伪蟼 伪魏蠈渭伪 畏渭苇蟻伪蟼.听 韦慰 渭慰谓伪未喂魏蠈 蟺蟻维纬渭伪 蟺慰蠀 蠀蟺维蟻蠂蔚喂 未委蟺位伪 蟿畏蟼 蔚委谓伪喂 渭委伪 渭伪蠉蟻畏 蟿蟽维谓蟿伪 伪蟺蠈 蟿畏谓 慰蟺慰委伪, 魏伪蟿维 未喂伪蟽蟿萎渭伪蟿伪, 伪谓伪蟽蠉蟻蔚喂 未喂伪蠁蠈蟻蠅谓 蔚喂未蠋谓 伪谓蟿喂魏蔚委渭蔚谓伪, 蟿伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 蟺伪位喂维 魏伪喂 蟿伪位伪喂蟺蠅蟻畏渭苇谓伪. 螝维蟺慰蠀 蟽蟿慰 尾维胃慰蟼, 蔚位维蠂喂蟽蟿伪 蟺伪蟻蠋谓 魏伪喂 慰渭喂位畏蟿喂魏蠈蟼, 尾蟻委蟽魏蔚蟿伪喂 慰 蟽蠉味蠀纬蠈蟼 蟿畏蟼, 慰 螕慰蠀委位位喂, 蠂蠅渭苇谓慰蟼 蟽蟿慰 未喂魏蠈 蟿慰蠀 位伪纬慰蠉渭喂 蠂蠅蟻委蟼 慰 苇谓伪蟼 谓伪 尾位苇蟺蔚喂 蟿慰谓 维位位慰谓.
螝维谓慰谓蟿伪蟼 渭委伪 蟽蠉谓蟿慰渭畏 苇蟻蔚蠀谓伪 纬蠉蟻蠅 伪蟺蠈 蟿慰 苇蟻纬慰, 伪谓伪蠁苇蟻蔚蟿伪喂 蟽蠀蠂谓维 蠈蟿喂 蟽蔚 渭委伪 蟽蠀味萎蟿畏蟽畏 纬蠉蟻蠅 伪蟺蠈 蟿喂蟼 螘蠀蟿蠀蠂喂蟽渭苇谓蔚蟼 螠苇蟻蔚蟼, 慰 螠蟺苇魏蔚蟿 喂蟽蠂蠀蟻委蟽蟿畏魏蔚 蠈蟿喂 蟿慰 渭慰谓伪未喂魏蠈 蟺位维蟽渭伪 蟺慰蠀 胃伪 维谓蟿蔚蠂蔚 谓伪 蠀蟺慰渭蔚委谓蔚喂 蠈位畏 伪蠀蟿萎 蟿畏谓 未慰魏喂渭伪蟽委伪 蔚委谓伪喂 畏 纬蠀谓伪委魏伪. 听螕喂伪 谓伪 蔚委渭伪喂 蔚喂位喂魏蟻喂谓萎蟼 蠈渭蠅蟼 未蔚谓 尉苇蟻蠅 魏伪蟿维 蟺蠈蟽慰 伪谓伪蠁蔚蟻蠈蟿伪谓 蟽蟿畏谓 魏伪蟿维蟽蟿伪蟽畏 蟺慰蠀 尾位苇蟺慰蠀渭蔚 蟺维谓蠅 蟽蟿畏谓 蟽魏畏谓萎 萎 蟽蟿慰谓 蟽蠀渭尾慰位喂蟽渭蠈 蟺慰蠀 魏蟻蠉尾蔚喂 魏伪喂 畏 蟽魏畏谓萎 伪蠀蟿萎 魏伪胃鈥� 蔚伪蠀蟿萎. 韦慰 委未喂慰 蟿慰 苇蟻纬慰 维位位蠅蟽蟿蔚 尾蟻委胃蔚喂 蟽蠀渭尾慰位喂蟽渭蠋谓 魏伪喂 谓慰畏渭维蟿蠅谓.
螠蔚 蟿喂蟼 螘蠀蟿蠀蠂喂蟽渭苇谓蔚蟼 螠苇蟻蔚蟼 慰 螠蟺苇魏蔚蟿 蟺蟻慰蟽蔚纬纬委味蔚喂 渭慰谓伪未喂魏维 蟿畏谓 伪蟺慰渭蠈谓蠅蟽畏 蟺慰蠀 蔚蟺苇蟻蠂蔚蟿伪喂 蟽蟿慰 味蔚蠀纬维蟻喂 魏维蟿蠅 伪蟺蠈 蟿慰 尾维蟻慰蟼 渭委伪蟼 伪未蠀蟽蠋蟺畏蟿伪 渭慰谓蠈蟿慰谓畏蟼 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪蟼 听畏 慰蟺慰委伪 伪蟺慰未委未蔚蟿伪喂 蟽蔚 蟿蟻蔚喂蟼 纬蟻伪渭渭苇蟼, 蟺慰蠀 蠈蟺慰喂慰蟼 蟿喂蟼 苇蠂蔚喂 伪喂蟽胃伪谓胃蔚委, 胃伪 蟿慰谓 蟽蟿慰喂蠂蔚喂蠋谓慰蠀谓 纬喂伪 蟺慰位蠉 魏伪喂蟻蠈:
芦螣蠉蟿蔚 魏伪位蠉蟿蔚蟻伪
螣蠉蟿蔚 蠂蔚喂蟻蠈蟿蔚蟻伪
螣蠉蟿蔚 伪位位伪纬萎.禄
听
螚 渭苇蟻伪 渭维位喂蟽蟿伪 蟺慰蠀 慰 螕慰蠀委位位喂 胃伪 伪蟺慰蠁伪蟽委蟽蔚喂 谓伪 蟿畏蟼 伪蟺蔚蠀胃蠉谓蔚喂 苇蟽蟿蠅 魏伪喂 未蠉慰 位苇尉蔚喂蟼, 蔚委谓伪喂 纬喂伪 蔚魏蔚委谓畏 渭委伪 蟺蟻伪纬渭伪蟿喂魏维 蔚蠀蟿蠀蠂喂蟽渭苇谓畏 渭苇蟻伪.
芦惟 蔚蟽蠉 位慰喂蟺蠈谓 胃伪 渭慰蠀 渭喂位萎蟽蔚喂蟼 蟽萎渭蔚蟻伪,
惟 伪蠀蟿蠈蟼 胃伪 渭慰蠀 渭喂位萎蟽蔚喂 蟽萎渭蔚蟻伪,
螠委伪 蔚蠀蟿蠀蠂喂蟽渭苇谓畏 渭苇蟻伪 苇蟻蠂蔚蟿伪喂!禄
螒蠀蟿萎 畏 伪谓蟿委胃蔚蟽畏 伪谓维位伪蠁蟻慰蠀 蟿蠈谓慰蠀- 蟽魏位畏蟻慰蠉 谓慰萎渭伪蟿慰蟼 渭蔚 蟽蠈魏伪蟻蔚 魏伪喂 渭鈥� 苇魏伪谓蔚 谓伪 胃伪蠀渭维蟽蠅 伪魏蠈渭伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟿慰谓 螠蟺苇魏蔚蟿. 螔位苇蟺慰蠀渭蔚 渭委伪 纬蠀谓伪委魏伪 谓伪 蔚委谓伪喂 蟿蟻喂蟽蔚蠀蟿蠀蠂喂蟽渭苇谓畏 伪蟺位维 魏伪喂 渭蠈谓慰 蔚蟺蔚喂未萎 慰 维谓蟿蟻伪蟼 蟿畏蟼 伪蠁喂苇蟻蠅蟽蔚 未蠉慰 位蔚蟺蟿维, 委蟽蠅蟼 魏伪喂 位喂纬蠈蟿蔚蟻慰, 纬喂伪 谓伪 蟿畏谓 伪魏慰蠉蟽蔚喂 魏伪喂 尉苇蟻慰蠀渭蔚 蠈蟿喂 伪蠀蟿蠈 蟽蠀渭尾伪委谓蔚喂 蟽蔚 蟿蠈蟽伪 蟽蟺委蟿喂伪, 蟽蔚 蟿蠈蟽伪 味蔚蠀纬维蟻喂伪.
螘魏蔚委谓畏 伪蟺蠈 蟿畏谓 蟺位蔚蠀蟻维 蟿畏蟼 蠁伪委谓蔚蟿伪喂 谓伪 苇蠂蔚喂 蟺位萎蟻畏 蔚蟺委纬谓蠅蟽畏 蟿畏蟼 魏伪蟿维蟽蟿伪蟽畏蟼 纬喂鈥� 伪蠀蟿蠈 魏伪喂 蟿慰谓 蟺伪蟻伪魏伪位维蔚喂 谓伪 伪魏慰蠉蔚喂 苇蟽蟿蠅 魏伪喂 蟿伪 渭喂蟽维 伪蟺鈥� 蠈蟽伪 位苇蔚喂. 螒魏蠈渭伪 魏喂 伪谓 苇蠂伪蟽蔚 纬喂伪 蟺维谓蟿伪 苇谓伪谓 蟽蠀谓慰渭喂位畏蟿萎, 蟺蟻慰蟽蟺伪胃蔚委 渭蔚 魏维胃蔚 渭苇蟽慰 谓伪 魏蟻伪蟿萎蟽蔚喂 蟿慰蠀位维蠂喂蟽蟿慰谓 苇谓伪谓 蠀蟺慰蟿蠀蟺蠋未畏 伪魏蟻慰伪蟿萎. 螒蠀蟿蠈谓 蟺慰蠀 蟺伪蟻伪渭苇谓蔚喂 慰 维谓蟿蟻伪蟼 蟿畏蟼 魏伪喂 蟺慰蠀 魏维蟺慰蟿蔚, 蠈蟺蠅蟼 伪谓伪蠁苇蟻蔚喂 蟽蔚 伪谓蠉蟺慰蟺蟿慰 蠂蟻蠈谓慰,听 蟿畏谓 伪纬维蟺畏蟽蔚 蟺慰位蠉, 蟿蠋蟻伪 蟿畏蟼 伪蟻魏蔚委 伪蟺位维 谓伪 尾蟻委蟽魏蔚蟿伪喂 芦蟽蔚 伪魏蟿委谓伪 伪魏慰萎蟼禄.
螖蔚谓 渭蟺慰蟻慰蠉渭蔚 谓伪 尉苇蟻慰蠀渭蔚 蟺蠋蟼 魏伪喂 纬喂伪蟿委 伪蠀蟿萎 畏 纬蠀谓伪委魏伪 尾蟻苇胃畏魏蔚 魏伪位蠀渭渭苇谓畏 蠅蟼 蟿畏谓 渭苇蟽畏, 伪委蟽胃畏蟽畏 渭慰蠀 蠈渭蠅蟼 蔚委谓伪喂 蠈蟿喂 伪蠀蟿蠈 蟽蟿慰 慰蟺慰委慰 尾慰蠀位喂维味蔚喂 蔚委谓伪喂 畏 委未喂伪 畏 味蠅萎 蟺慰蠀 渭苇蟻伪-渭苇蟻伪 纬位喂蟽蟿蟻维蔚喂 伪蟺蠈 蟿伪 蠂苇蟻喂伪 蟿畏蟼. 螕委谓蔚蟿伪喂 魏位蔚蠄蠉未蟻伪 蟿慰蠀 委未喂慰蠀 蟿慰蠀 蠂蟻蠈谓慰蠀 蟺慰蠀 蟿畏蟼 伪蟺慰渭苇谓蔚喂 蟽蔚 伪蠀蟿蠈谓 蟿慰谓 魏蠈蟽渭慰 未喂伪蟿畏蟻蠋谓蟿伪蟼 渭委伪 蠁伪喂谓慰渭蔚谓喂魏维 伪渭苇蟻喂渭谓畏 蟺蟻慰蟽苇纬纬喂蟽畏 伪蟺苇谓伪谓蟿喂 蟽蟿慰 伪谓伪蟺蠈蠁蔚蠀魏蟿慰.
螚 螕慰蠀委谓谓喂 蔚委谓伪喂 伪蟺蠈 蟿喂蟼 蟺喂慰 伪尉喂伪纬维蟺畏蟿蔚蟼 畏蟻蠅委未蔚蟼 蟺慰蠀 苇蠂蠅 蟽蠀谓伪谓蟿萎蟽蔚喂 蟿蠈蟽慰 蟽蔚 胃蔚伪蟿蟻喂魏维 苇蟻纬伪, 蠈蟽慰 魏伪喂 蟽蔚 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪. 螠蔚 蠈位伪 蟿伪 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏维 蟿畏蟼 渭蔚蟽萎位喂魏畏蟼 纬蠀谓伪委魏伪蟼, 蠈蟺蠅蟼 畏 蟺慰位蠀位慰纬委伪, 畏 蟽蠀谓蔚喂蟻渭喂魏萎 蟽魏苇蠄畏 魏伪喂 渭委伪蟼 蟺伪位喂维蟼 魏慰蟺萎蟼 魏慰魏蔚蟿伪蟻委伪, 蟽慰蠀 纬蔚谓谓维蔚喂 渭蠈谓慰 蟿蟻蠀蠁蔚蟻维 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 魏喂 苇谓伪 伪渭蠀未蟻蠈 蟽蠀谓伪委蟽胃畏渭伪 蟿伪蠉蟿喂蟽畏蟼 纬喂伪蟿委 尉苇蟻蔚喂蟼 蠈蟿喂 渭慰喂蟻伪委伪 胃伪 尾蟻蔚胃蔚委蟼 蟽蟿畏谓 胃苇蟽畏 蟿畏蟼. 螝维胃蔚 渭苇蟻伪 蔚委谓伪喂 蔚魏蔚委, 蟽蔚 伪蠀蟿蠈谓 蟿慰谓 位蠈蠁慰 渭苇蟽伪 蟽蟿慰谓 慰蟺慰委慰 尾慰蠀位喂维味蔚喂 (萎未畏 蟽蟿畏谓 未蔚蠉蟿蔚蟻畏 蟽魏畏谓萎 蔚委谓伪喂 魏伪位蠀渭渭苇谓畏 渭苇蠂蟻喂 蟿慰谓 位伪喂渭蠈) 蟺蟻慰蟽蟺伪胃蠋谓蟿伪蟼 谓伪 蠁伪委谓蔚蟿伪喂 伪渭苇蟻喂渭谓畏, 谓伪 渭喂位维蔚喂 纬喂伪 蟿慰 蟺伪蟻蔚位胃蠈谓, 纬喂伪蟿委 渭蠈谓慰 伪蠀蟿蠈 苇蠂蔚喂, 蠂蠅蟻委蟼 蠈渭蠅蟼 谓伪 魏维谓蔚喂 渭蔚纬维位畏 蟽蟺伪蟿维位畏 位苇尉蔚蠅谓.
螣喂 位苇尉蔚喂蟼, 渭伪味委 渭蔚 蟿畏谓 渭伪蠉蟻畏 蟿蟽维谓蟿伪, 蠁伪委谓蔚蟿伪喂 谓伪 蔚委谓伪喂 蟿慰 渭慰谓伪未喂魏蠈 蟿畏蟼 蠈蟺位慰 伪蟺苇谓伪谓蟿喂 蟽蔚 伪蠀蟿萎 蟿畏谓 渭慰谓蠈蟿慰谓畏 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪. 螚 蟺蔚委蟻伪 蠈渭蠅蟼 蟺慰蠀 魏慰蠀尾伪位维蔚喂, 蟿畏蟼 苇蠂蔚喂 渭维胃蔚喂 蠈蟿喂 蟺蟻苇蟺蔚喂 谓伪 蠂蟻畏蟽喂渭慰蟺慰喂慰蠉谓蟿伪喂 渭蔚 蟽蠉谓蔚蟽畏 魏伪喂 谓伪 渭畏谓 纬委谓蔚蟿伪喂 伪位蠈纬喂蟽蟿畏 蟽蟺伪蟿维位畏 纬喂伪蟿委 蟿蠈蟿蔚 胃伪 尾蟻蔚胃蔚委 伪谓蟿喂渭苇蟿蠅蟺畏 渭蔚 蟿畏谓 伪蟺蠈位蠀蟿畏 渭慰谓伪尉喂维.
听芦螞苇尉蔚喂蟼, 位苇尉蔚喂蟼, 位苇尉蔚喂蟼, 慰喂 位苇尉蔚喂蟼 蠁胃委谓慰蠀谓
螣喂 位苇尉蔚喂蟼 伪未蠀谓伪蟿委味慰蠀谓 蔚尉伪蟽胃蔚谓慰蠉谓 蔚尉伪谓蟿位慰蠉谓蟿伪喂 蟿蔚位蔚喂蠋谓慰蠀谓
螣喂 位苇尉蔚喂蟼 伪蟺慰蟿蠀纬蠂维谓慰蠀谓 伪蟺慰纬慰畏蟿蔚蠉慰蠀谓 蟺蟻慰未委未慰蠀谓
螣喂 位苇尉蔚喂蟼 蠁胃蔚委蟻慰谓蟿伪喂, 蠁胃委谓慰蠀谓
螣喂 位苇尉蔚喂蟼 蟽蔚 蟺伪蟻伪蟿慰蠉谓,
螘委谓伪喂 蠁慰蟻苇蟼 蟺慰蠀 伪魏蠈渭伪 魏伪喂 伪蠀蟿苇蟼 蟽蔚 蔚纬魏伪蟿伪位蔚委蟺慰蠀谓.禄
韦慰谓 魏蠉蟻喂慰 螠蟺苇魏蔚蟿 尾苇尾伪喂伪 未蔚谓 蟿慰谓 蔚纬魏伪蟿苇位蔚喂蠄伪谓 蟽蟿喂纬渭萎 蟽蔚 伪蠀蟿蠈 蟿慰 苇蟻纬慰. 螤蔚蟻喂蟿蟿蠈 谓伪 蟺蠅 蠈蟿喂 蟽伪蟼 蟿慰 蟽蠀蟽蟿萎谓蠅 伪谓蔚蟺喂蠁蠉位伪魏蟿伪.
听
July 21, 2022
How can one better magnify the Almighty than by sniggering with him at his little jokes, particularly the poorer ones?
A heartbreakingly sad play
Oh this is a happy day! This will have been another happy day! After all. So far.
Happy Days is a tragicomedy in two acts with only the two characters of Winnie and Willie. The play is almost a monologue, Winnie doing most of the talking and studies the meaninglessness of time, futility of life and in general, explores the human existence.
Ah earth you old extinguisher!
A heartbreakingly sad play
Oh this is a happy day! This will have been another happy day! After all. So far.
Happy Days is a tragicomedy in two acts with only the two characters of Winnie and Willie. The play is almost a monologue, Winnie doing most of the talking and studies the meaninglessness of time, futility of life and in general, explores the human existence.
Ah earth you old extinguisher!
September 20, 2022
It had said that Happy Days was Beckett鈥檚 response to a friend who asked him to write a happy play. Beckett wrote that it was hard to separate the comic from the tragic but said that comedy, with its 鈥渋ntuition of the absurd,鈥� was more despairing because it offers no way out. Whereas a tragedy traditionally ends with a death. The lead characters in Godot and Happy Days do not die but remain on stage at the end, releasing the audience from the emotions they have felt during the play, seemingly destined to repeat their actions and words forever.
April 6, 2015
Words fail, there are times when even they fail. However, speaking is Winnie's raison d'锚tre, words keep flowing from her without conveying any meaning, just to fill the silence and the void.
Early on, it struck me as upsetting the fact that Winnie was trying so hard to convince herself that it is a happy day, the wanting to get out of the mound and the simultaneous attachment to it.
Never have I ever come across a play whose directorial instructions are as important as the play itself. I quickly became engrossed in reading Beckett's directions and it felt as if I was watching it on scene.
I found it an exceptional avant-garde piece of art.
Early on, it struck me as upsetting the fact that Winnie was trying so hard to convince herself that it is a happy day, the wanting to get out of the mound and the simultaneous attachment to it.
Never have I ever come across a play whose directorial instructions are as important as the play itself. I quickly became engrossed in reading Beckett's directions and it felt as if I was watching it on scene.
I found it an exceptional avant-garde piece of art.
October 16, 2009
At the start of Happy Days, we see Winnie - a plump, fifty-year-old housewife of a woman 鈥� buried to her waist in the centre of a mound of earth. The sun blazes down in the form of a powerful spotlight. A barren landscape stretches into the distance. Beside Minnie on the mound are a large bag and a parasol. Throughout the play, she removes items from the bag, including a Browning automatic revolver (鈥楤rownie鈥�) and a toothbrush. Halfway through the first of two short acts the parasol bursts into flames from the unrelenting heat. At the start of the play she seems to be alone, but soon we see that there is a man (Willie) on the far side of the mound, reading a newspaper, though we see only the back of his head for the whole of the first act. He only crawls over the mound to face Winnie in a dramatic and moving scene at the end of the play, when she is buried to her neck in the mound. Winnie does most of the talking, addressing many of her comments to Willie, and he responds only occasionally and briefly. When she seems to be nodding off at times she is brought awake again by an unseen bell.
At a first reading this play, like all of Beckett鈥檚 plays, leaves you with a vague sense of depression and incomprehension, though you do also feel a sense of achievement in having got through it from beginning to end and of having read something worthwhile. Subsequent readings throw up all sorts of allusions and echoes that completely escaped you the first time, and if you then (and only then) read a guide to the play you recognise it for the masterpiece it is: a highly-polished jewel, a starkly concentrated appraisal of the human condition packed into two short acts, that lesser writers would and do take volumes to laboriously spell out. Despite seeming a rambling, knocked-off-in-ten-minutes affair, it is in fact a highly sophisticated interplay of repetition and variation with leitmotifs, silence and precise movements that are all indicated in the meticulous stage directions, and is almost operatic in its effect.
Beckett is never patronising, he leaves you (perhaps somewhat dismissively) to work out for yourself what it is all about. Scratch the surface and you will find allusions to Zeno, Shakespeare, Aristotle, the Anglican Liturgy and Holy Communion and Dante, as well as The Merry Widow. You may see it, with A. Alvarez, as 鈥榓 sour view of a cosy marriage鈥�, or agree with The Times that 鈥榯he text is an elaborate structure of internal harmonies with recurring clich茅s twisted into bitter truths, and key phrases chiming ironically through the development as in a passacaglia鈥�. For me, it is all of these things, but perhaps most of all it is a comment on ageing, loneliness and loss. It will haunt all who see it or read it.
At a first reading this play, like all of Beckett鈥檚 plays, leaves you with a vague sense of depression and incomprehension, though you do also feel a sense of achievement in having got through it from beginning to end and of having read something worthwhile. Subsequent readings throw up all sorts of allusions and echoes that completely escaped you the first time, and if you then (and only then) read a guide to the play you recognise it for the masterpiece it is: a highly-polished jewel, a starkly concentrated appraisal of the human condition packed into two short acts, that lesser writers would and do take volumes to laboriously spell out. Despite seeming a rambling, knocked-off-in-ten-minutes affair, it is in fact a highly sophisticated interplay of repetition and variation with leitmotifs, silence and precise movements that are all indicated in the meticulous stage directions, and is almost operatic in its effect.
Beckett is never patronising, he leaves you (perhaps somewhat dismissively) to work out for yourself what it is all about. Scratch the surface and you will find allusions to Zeno, Shakespeare, Aristotle, the Anglican Liturgy and Holy Communion and Dante, as well as The Merry Widow. You may see it, with A. Alvarez, as 鈥榓 sour view of a cosy marriage鈥�, or agree with The Times that 鈥榯he text is an elaborate structure of internal harmonies with recurring clich茅s twisted into bitter truths, and key phrases chiming ironically through the development as in a passacaglia鈥�. For me, it is all of these things, but perhaps most of all it is a comment on ageing, loneliness and loss. It will haunt all who see it or read it.
May 1, 2019
賷賯賵賱 賵丿賷毓 爻毓丕丿丞 賮丕賱賲賰丕賳 賱賷爻 賲爻丕丨丞 噩睾乇丕賮賷丞 賮丨爻亘貙 亘賱 賴賵 賲爻丕丨丞 丿丕禺賱賷丞 賮賷 丕賱匕丕鬲 兀賷囟丕賸.
芦... 鬲亘丿兀 丕賱丨賷丕丞 賮賷 丕賱賷賵賲 丕賱兀禺賷乇. 丕賱兀賷丕賲 賰孬賷乇丞貙 賱賰賳 丕賱丨賷丕丞 賯賱賷賱丞. 鬲鬲兀噩賱 賲賳 賷賵賲 廿賱賶 賷賵賲. 賵丨賷賳 賱丕 賷亘賯賶 睾賷乇 賷賵賲 鬲鬲丿賮賯 賰賱賴丕 廿賱賷賴 毓賱賾賴丕 鬲丨賷丕 賮賷賴. 賵賴賰匕丕 鬲亘丿兀 丕賱丨賷丕丞貙 賮賯胤 丨賷賳 丕賳鬲賴丕卅賴丕. 賵賱匕賱賰貙 賱賳 鬲毓丕卮 丕賱丨賷丕丞 兀亘丿丕賸 (...) 鬲賱賰 丕賱兀賷丕賲貙 丕賱鬲賷 匕賴亘鬲 丕賱丌賳貙 賱賲 鬲賰賳 睾賷乇 鬲賲乇賷賳 毓賱賶 丿禺賵賱 丕賱丨賷丕丞.
亘胤賱丕 丕賱賲爻乇丨賷丞貨 賵賷賳賷 賵賵賷賱賷 氐賵乇鬲丕賳 賲鬲囟丕丿鬲丕賳 毓賳 丕賱賵丕賯毓 丕賱賵噩賵丿賷 賵氐乇丕毓賴 亘賰賱 賲丕 賷孬賷乇賴 賲賳 毓匕丕亘丕鬲 賵丌賱丕賲 賵毓亘孬 賮賷 丕賱鬲氐賵乇 賵丕賱賲禺賷賱丞 賵 賰賳賴 丕賱匕丕賰乇丞 賵丕賱噩爻丿. 賵亘賯乇丕亍丞 兀禺乇賶 賴賷 爻賷乇丞 賲毓丕氐乇丞 毓賳 丨賷丕丞 丕賱毓賯賱 賵爻賰賳 丕賱賳賮爻貙 鬲毓賰爻 毓匕丕亘丕鬲 賵氐乇丕毓丕鬲 丕賱丕賳爻丕賳 丕賱賲毓丕氐乇 .
賵賷賳賷 丕賱鬲賷 鬲馗賴乇 毓賱賶 禺卮亘丞 丕賱賲爻乇丨 賲丿賮賵賳丞 丨鬲賶 禺氐乇賴丕 賮賷 丕賱鬲賱貙 賮賷 賲乇賰夭賴 鬲丨丿賷丿丕賸貙 毓賱賶 卮賮丕 丕賱賲賵鬲貙 賱賰賳賴丕 鬲鬲卮亘孬 賵鬲鬲兀賯賱賲 賵鬲禺賱賯 賱丨馗丕鬲 爻毓賷丿丞 賮賷 賲爻丕丨鬲賴丕 丕賱噩睾乇丕賮賷丞 丕賱禺丕氐丞 賲賳 丕賱匕丕鬲 賵丕賱噩爻丿 賵亘賰賱 丕賱賮乇氐 丕賱賲鬲丕丨丞 賵賱賵 賰丕賳鬲 卮丨賷丨丞貙 鬲賯丕賵賲 丕賱禺賵丕亍 賵鬲丨丕賵賱 丕賱鬲賲丕爻賰 賲毓 賰賱 賷賵賲 賷賲囟賷 亘禺賱賯 丨丿賷孬 賲毓 賳賮爻賴丕 亘爻亘乇 丕賱匕賰乇賷丕鬲 賵丕噩鬲乇丕乇 丕賱賲丕囟賷貙 賵亘丕賱丨丿賷孬 賰匕賱賰 賲毓 賵賷賱賷貙 乇睾亘丞賸 賮賷 丕賱鬲賰丕賲賱 賲毓賴 兀賵 賱丕賱鬲賮丕鬲賴 氐睾賷乇丞貙 賱賰賳賴 賴卮 賵 亘丕賱賰丕丿 賷爻鬲噩賷亘. 丕賳賴丕 鬲亘賳賷 噩爻賵乇丕賸 賲毓 丕賱賵丨丿丞 賮賷 賲丨丕賵賱丞 賱兀爻乇 丕賱丕賱鬲亘丕爻丕鬲 賵丕賱鬲卮賵卮丕鬲 丕賱賳賮爻賷丞貙 丕賱鬲賷 賴賷 胤乇賮 賲卮丕乇賰 賮賷賴丕 廿賱賶 丨丿 亘毓賷丿 . 賵賮賷 賯乇丕亍丞 兀禺乇賶貙 賴賷 鬲噩爻賷丿 賱賲丕 賯丕賱賴 賮賵賱鬲賷乇 : 芦丕賱賰賵丕乇孬購 賲丿賴卮丞賹 亘卮賰賱 賲乇毓亘禄!
毓賱賶 丕賱噩丕賳亘 丕賱丌禺乇 賲賳 丕賱賲爻乇丨 賵賷賱賷 丕賱匕賷 賷乇賯丿 毓賱賶 丕賱兀乇囟貙 賳丕卅賲丕賸 賷丨噩亘賴 丕賱鬲賱貙 賰 氐賵乇丞賺 賲乇丕丿賮丞 賱賱賴賱毓! 賵亘丕賱乇睾賲 賲賳 鬲丨乇乇賴 丕賱馗丕賴乇 廿賱丕 兀賳賴 毓丕噩夭 毓賳 賲噩丕乇丕鬲賴貙 賲賳 丕賱鬲丨乇乇 賲賳 毓賵丕卅賯賴 丕賱毓丕賱賯丞 賮賷 丕賱匕賴賳貙 賲賳 匕賱賰 丕賱丌禺乇 丕賱匕賷 賷賱鬲賴賲賴 丨賷丕賸 賵亘卮乇丕爻丞 "賷卮毓乇賰 兀賳賴 賲爻噩賵賳 賱卮賷亍 賲丕 賵賱丕 賷賯丿乇 毓賱賶 丕賱賮賰丕賰 賲賳賴."貙 賵賱賵 賰丕賳鬲 賴賳丕賰 賲丨丕賵賱丕鬲 禺噩賵賱丞 賱賱廿賮賱丕鬲 丕賱丕 兀賳賴 毓噩夭 毓賳 賴丿賲 丕賱噩丿丕乇 賵爻噩賳 賳賮爻賴 亘賳賮爻賴. 賵賲賳 丕賱賲賱丕丨馗 丕賲鬲賱丕賰賴 賲賯丿乇丞 乇賴賷亘丞 毓賱賶 丕賮爻丕丿 丕賱賱丨馗丕鬲 . 賵賴賵 賲賳 賲賳馗賵乇 丌禺乇 賷氐賵乇 鬲丨賵賱 丕賱噩爻丿 賲賱毓亘丕賸 賱丕囟胤乇丕亘丕鬲 丕賱賳賮爻!
氐丕賲賵賷賱 亘賷賰賷鬲 兀亘丿毓 賮賷 噩賵賴乇賷賾 丕賱賱睾丞 .
丕賱鬲乇噩賲丞 乇丕卅毓丞.
芦... 鬲亘丿兀 丕賱丨賷丕丞 賮賷 丕賱賷賵賲 丕賱兀禺賷乇. 丕賱兀賷丕賲 賰孬賷乇丞貙 賱賰賳 丕賱丨賷丕丞 賯賱賷賱丞. 鬲鬲兀噩賱 賲賳 賷賵賲 廿賱賶 賷賵賲. 賵丨賷賳 賱丕 賷亘賯賶 睾賷乇 賷賵賲 鬲鬲丿賮賯 賰賱賴丕 廿賱賷賴 毓賱賾賴丕 鬲丨賷丕 賮賷賴. 賵賴賰匕丕 鬲亘丿兀 丕賱丨賷丕丞貙 賮賯胤 丨賷賳 丕賳鬲賴丕卅賴丕. 賵賱匕賱賰貙 賱賳 鬲毓丕卮 丕賱丨賷丕丞 兀亘丿丕賸 (...) 鬲賱賰 丕賱兀賷丕賲貙 丕賱鬲賷 匕賴亘鬲 丕賱丌賳貙 賱賲 鬲賰賳 睾賷乇 鬲賲乇賷賳 毓賱賶 丿禺賵賱 丕賱丨賷丕丞.
亘胤賱丕 丕賱賲爻乇丨賷丞貨 賵賷賳賷 賵賵賷賱賷 氐賵乇鬲丕賳 賲鬲囟丕丿鬲丕賳 毓賳 丕賱賵丕賯毓 丕賱賵噩賵丿賷 賵氐乇丕毓賴 亘賰賱 賲丕 賷孬賷乇賴 賲賳 毓匕丕亘丕鬲 賵丌賱丕賲 賵毓亘孬 賮賷 丕賱鬲氐賵乇 賵丕賱賲禺賷賱丞 賵 賰賳賴 丕賱匕丕賰乇丞 賵丕賱噩爻丿. 賵亘賯乇丕亍丞 兀禺乇賶 賴賷 爻賷乇丞 賲毓丕氐乇丞 毓賳 丨賷丕丞 丕賱毓賯賱 賵爻賰賳 丕賱賳賮爻貙 鬲毓賰爻 毓匕丕亘丕鬲 賵氐乇丕毓丕鬲 丕賱丕賳爻丕賳 丕賱賲毓丕氐乇 .
賵賷賳賷 丕賱鬲賷 鬲馗賴乇 毓賱賶 禺卮亘丞 丕賱賲爻乇丨 賲丿賮賵賳丞 丨鬲賶 禺氐乇賴丕 賮賷 丕賱鬲賱貙 賮賷 賲乇賰夭賴 鬲丨丿賷丿丕賸貙 毓賱賶 卮賮丕 丕賱賲賵鬲貙 賱賰賳賴丕 鬲鬲卮亘孬 賵鬲鬲兀賯賱賲 賵鬲禺賱賯 賱丨馗丕鬲 爻毓賷丿丞 賮賷 賲爻丕丨鬲賴丕 丕賱噩睾乇丕賮賷丞 丕賱禺丕氐丞 賲賳 丕賱匕丕鬲 賵丕賱噩爻丿 賵亘賰賱 丕賱賮乇氐 丕賱賲鬲丕丨丞 賵賱賵 賰丕賳鬲 卮丨賷丨丞貙 鬲賯丕賵賲 丕賱禺賵丕亍 賵鬲丨丕賵賱 丕賱鬲賲丕爻賰 賲毓 賰賱 賷賵賲 賷賲囟賷 亘禺賱賯 丨丿賷孬 賲毓 賳賮爻賴丕 亘爻亘乇 丕賱匕賰乇賷丕鬲 賵丕噩鬲乇丕乇 丕賱賲丕囟賷貙 賵亘丕賱丨丿賷孬 賰匕賱賰 賲毓 賵賷賱賷貙 乇睾亘丞賸 賮賷 丕賱鬲賰丕賲賱 賲毓賴 兀賵 賱丕賱鬲賮丕鬲賴 氐睾賷乇丞貙 賱賰賳賴 賴卮 賵 亘丕賱賰丕丿 賷爻鬲噩賷亘. 丕賳賴丕 鬲亘賳賷 噩爻賵乇丕賸 賲毓 丕賱賵丨丿丞 賮賷 賲丨丕賵賱丞 賱兀爻乇 丕賱丕賱鬲亘丕爻丕鬲 賵丕賱鬲卮賵卮丕鬲 丕賱賳賮爻賷丞貙 丕賱鬲賷 賴賷 胤乇賮 賲卮丕乇賰 賮賷賴丕 廿賱賶 丨丿 亘毓賷丿 . 賵賮賷 賯乇丕亍丞 兀禺乇賶貙 賴賷 鬲噩爻賷丿 賱賲丕 賯丕賱賴 賮賵賱鬲賷乇 : 芦丕賱賰賵丕乇孬購 賲丿賴卮丞賹 亘卮賰賱 賲乇毓亘禄!
毓賱賶 丕賱噩丕賳亘 丕賱丌禺乇 賲賳 丕賱賲爻乇丨 賵賷賱賷 丕賱匕賷 賷乇賯丿 毓賱賶 丕賱兀乇囟貙 賳丕卅賲丕賸 賷丨噩亘賴 丕賱鬲賱貙 賰 氐賵乇丞賺 賲乇丕丿賮丞 賱賱賴賱毓! 賵亘丕賱乇睾賲 賲賳 鬲丨乇乇賴 丕賱馗丕賴乇 廿賱丕 兀賳賴 毓丕噩夭 毓賳 賲噩丕乇丕鬲賴貙 賲賳 丕賱鬲丨乇乇 賲賳 毓賵丕卅賯賴 丕賱毓丕賱賯丞 賮賷 丕賱匕賴賳貙 賲賳 匕賱賰 丕賱丌禺乇 丕賱匕賷 賷賱鬲賴賲賴 丨賷丕賸 賵亘卮乇丕爻丞 "賷卮毓乇賰 兀賳賴 賲爻噩賵賳 賱卮賷亍 賲丕 賵賱丕 賷賯丿乇 毓賱賶 丕賱賮賰丕賰 賲賳賴."貙 賵賱賵 賰丕賳鬲 賴賳丕賰 賲丨丕賵賱丕鬲 禺噩賵賱丞 賱賱廿賮賱丕鬲 丕賱丕 兀賳賴 毓噩夭 毓賳 賴丿賲 丕賱噩丿丕乇 賵爻噩賳 賳賮爻賴 亘賳賮爻賴. 賵賲賳 丕賱賲賱丕丨馗 丕賲鬲賱丕賰賴 賲賯丿乇丞 乇賴賷亘丞 毓賱賶 丕賮爻丕丿 丕賱賱丨馗丕鬲 . 賵賴賵 賲賳 賲賳馗賵乇 丌禺乇 賷氐賵乇 鬲丨賵賱 丕賱噩爻丿 賲賱毓亘丕賸 賱丕囟胤乇丕亘丕鬲 丕賱賳賮爻!
氐丕賲賵賷賱 亘賷賰賷鬲 兀亘丿毓 賮賷 噩賵賴乇賷賾 丕賱賱睾丞 .
丕賱鬲乇噩賲丞 乇丕卅毓丞.
July 13, 2016
" Dias Felizes 茅 um maravilhoso poema de amor, o canto de uma mulher que ainda quer ouvir e ver o homem que ama."
Madeleine Renaud (actriz)
Dias Felizes 茅 uma met谩fora da passagem do tempo, da resist锚ncia e da sobreviv锚ncia.
Para al茅m disso Dias Felizes 茅, talvez, um dos melhores trabalhos de Beckett, e Beckett 茅 o absurdo, o discurso fragmentado, o minimalismo e aparente insignific芒ncia dos di谩logos face 脿 revela莽茫o que brota dos sil锚ncios e das pausas.
As pe莽as de Beckett parecem ter todas o mesmo intuito: o de nos incomodar, de nos levar ao desassossego e 脿 interroga莽茫o, de nos provocar o riso para logo percebermos que 茅 um riso feito de l谩grimas.
E 茅 sobretudo, acabar a leitura ou sair da sala de espet谩culos com vontade de gritar e expulsar a afli莽茫o.
Madeleine Renaud (actriz)
Dias Felizes 茅 uma met谩fora da passagem do tempo, da resist锚ncia e da sobreviv锚ncia.
Para al茅m disso Dias Felizes 茅, talvez, um dos melhores trabalhos de Beckett, e Beckett 茅 o absurdo, o discurso fragmentado, o minimalismo e aparente insignific芒ncia dos di谩logos face 脿 revela莽茫o que brota dos sil锚ncios e das pausas.
As pe莽as de Beckett parecem ter todas o mesmo intuito: o de nos incomodar, de nos levar ao desassossego e 脿 interroga莽茫o, de nos provocar o riso para logo percebermos que 茅 um riso feito de l谩grimas.
E 茅 sobretudo, acabar a leitura ou sair da sala de espet谩culos com vontade de gritar e expulsar a afli莽茫o.
Read
June 27, 2022Beckett surpreendeu-me. Com uma forma de representar a vida despojada de simbologia, acabou por criar uma obra que se fixa, e que fixa o espectador/leitor naquele momento. Dias Felizes funciona como uma esp茅cie de t茅cnica de mindfulness levada a cena.
No palco apenas dois personagens: Winnie e Willie, casal de meia idade, de costas voltadas um para o outro. A primeira enterrada pela cintura, ancorada 脿 vida, ancorada ao espa莽o, ancorada ao palco, qual um Prometeu agrilhoado, 茅 a hero铆na tr谩gica por excel锚ncia. 脌 volta, em "campo de erva queimada", tudo 茅 luz crua e um saco "negro e grande" de variados objetos que comp玫em a vida do casal: pentes, escovas, espelhos que, no final do dia, retornam sempre ao lugar de origem como por magia, e, l谩 no fundo, um rev贸lver que existe como sombra de um poss铆vel suic铆dio que nunca se concretiza (uma piscadela de olho ao absurdo de 脌 Espera de Godot).
___
WINNIE
Deix谩-lo, n茫o tem import芒ncia, 茅 o que eu digo sempre: isso h谩 de voltar... eis o que eu acho maravilhoso: tudo volta... (Pausa.) Tudo? (Pausa.) N茫o, nem tudo. (Sor riso.) N茫o, n茫o. (Fim do sorriso.) N茫o completamente. (Pausa.) Uma parte. (Pausa.) Regressa, um belo dia, n茫o se sabe de onde. (Pausa.) Das nuvens. (Pausa.) Eis o que eu acho maravilhoso.
32
___
Winnie repete, em dois atos, as mesmas palavras, desfia as mesmas recorda莽玫es - ou a falta delas; hipnotiza quem a escuta e v锚 atrav茅s de pequenos trejeitos, h谩bitos adquiridos ao longo de uma vida que, percebemos, se fez dedicada a um homem. Por isso n茫o 茅 de estranhar que no final, quando j谩 s贸 restam as palavras, Winnie ainda estrebuche no buraco onde est谩 enterrada (agora at茅 ao pesco莽o!); Winnie resiste: novamente, Prometeu n茫o lhe fica mal associado - ambos s茫o rebeldes, resilientes -; Winnie n茫o desiste de tentar reerguer pontes entre si e o homem que n茫o consegue ver, mas que sabe ali.
____
WINNIE
(...) o tempo 茅 de Deus e meu. (Pausa.) De Deus e meu. (Pausa) Estranha express茫o... (Pausa.) Poder谩 dizer-se? (Voltando-se um pouco para o lado de Willie) Achas que se pode dizer, Willie, que o tempo 茅 de Deus e nosso? (Pausa. Voltando-se mais e mais forte.) Tu eras capaz de dizer tempo 茅 de Deus e teu?
(Longa pausa.)
WILLIE
Era.
WINNIE
(Alegre, voltando-se para a frente.)
Ah, ele hoje fala... vai ser um dia feliz! (Pausa. Fim da express茫o feliz.) Mais um dia feliz. (Pausa.)
34
___
Dias Felizes, pelo n煤mero e rigidez de indica莽玫es c茅nicas dever谩 ser das pe莽as mais desafiantes de trabalhar; a limita莽茫o f铆sica for莽ar谩 atores e encenadores a uma abordagem psicol贸gica do texto e a resolu莽玫es pouco usuais que no fim, decerto, s贸 podem refor莽ar a for莽a de Winnie e o v铆nculo entre ela, aqueles que a encarnam e os que a encaram.
____
WINNIE
Ter sido sempre a mesma que sou hoje - e t茫o diferente daquela que fui. (Pausa.) Sou uma, digo eu: sou uma e a seguir sou a outra (Pausa.) Ora uma, ora a outra. (Pausa.) H谩 t茫o poucas coisas a dizer. (Pausa) Dizemos tudo o que podemos. (Pausa.) E nada 茅 verdade, seja onde for (Pausa.)
54
No palco apenas dois personagens: Winnie e Willie, casal de meia idade, de costas voltadas um para o outro. A primeira enterrada pela cintura, ancorada 脿 vida, ancorada ao espa莽o, ancorada ao palco, qual um Prometeu agrilhoado, 茅 a hero铆na tr谩gica por excel锚ncia. 脌 volta, em "campo de erva queimada", tudo 茅 luz crua e um saco "negro e grande" de variados objetos que comp玫em a vida do casal: pentes, escovas, espelhos que, no final do dia, retornam sempre ao lugar de origem como por magia, e, l谩 no fundo, um rev贸lver que existe como sombra de um poss铆vel suic铆dio que nunca se concretiza (uma piscadela de olho ao absurdo de 脌 Espera de Godot).
___
WINNIE
Deix谩-lo, n茫o tem import芒ncia, 茅 o que eu digo sempre: isso h谩 de voltar... eis o que eu acho maravilhoso: tudo volta... (Pausa.) Tudo? (Pausa.) N茫o, nem tudo. (Sor riso.) N茫o, n茫o. (Fim do sorriso.) N茫o completamente. (Pausa.) Uma parte. (Pausa.) Regressa, um belo dia, n茫o se sabe de onde. (Pausa.) Das nuvens. (Pausa.) Eis o que eu acho maravilhoso.
32
___
Winnie repete, em dois atos, as mesmas palavras, desfia as mesmas recorda莽玫es - ou a falta delas; hipnotiza quem a escuta e v锚 atrav茅s de pequenos trejeitos, h谩bitos adquiridos ao longo de uma vida que, percebemos, se fez dedicada a um homem. Por isso n茫o 茅 de estranhar que no final, quando j谩 s贸 restam as palavras, Winnie ainda estrebuche no buraco onde est谩 enterrada (agora at茅 ao pesco莽o!); Winnie resiste: novamente, Prometeu n茫o lhe fica mal associado - ambos s茫o rebeldes, resilientes -; Winnie n茫o desiste de tentar reerguer pontes entre si e o homem que n茫o consegue ver, mas que sabe ali.
____
WINNIE
(...) o tempo 茅 de Deus e meu. (Pausa.) De Deus e meu. (Pausa) Estranha express茫o... (Pausa.) Poder谩 dizer-se? (Voltando-se um pouco para o lado de Willie) Achas que se pode dizer, Willie, que o tempo 茅 de Deus e nosso? (Pausa. Voltando-se mais e mais forte.) Tu eras capaz de dizer tempo 茅 de Deus e teu?
(Longa pausa.)
WILLIE
Era.
WINNIE
(Alegre, voltando-se para a frente.)
Ah, ele hoje fala... vai ser um dia feliz! (Pausa. Fim da express茫o feliz.) Mais um dia feliz. (Pausa.)
34
___
Dias Felizes, pelo n煤mero e rigidez de indica莽玫es c茅nicas dever谩 ser das pe莽as mais desafiantes de trabalhar; a limita莽茫o f铆sica for莽ar谩 atores e encenadores a uma abordagem psicol贸gica do texto e a resolu莽玫es pouco usuais que no fim, decerto, s贸 podem refor莽ar a for莽a de Winnie e o v铆nculo entre ela, aqueles que a encarnam e os que a encaram.
____
WINNIE
Ter sido sempre a mesma que sou hoje - e t茫o diferente daquela que fui. (Pausa.) Sou uma, digo eu: sou uma e a seguir sou a outra (Pausa.) Ora uma, ora a outra. (Pausa.) H谩 t茫o poucas coisas a dizer. (Pausa) Dizemos tudo o que podemos. (Pausa.) E nada 茅 verdade, seja onde for (Pausa.)
54
July 28, 2023
Samuel, kindly, what the fuck?
***
Nach meinen initialen Ausruf versuchen wir es nun doch mal mit etwas mehr Substanz. Ich kann Beckett viel abgewinnen. Vor Jahren las ich Waiting for Godot und war verzaubert, von der Skurrilit盲t und Absurdit盲t des St眉cks, den st盲ndigen Wiederholungen und dem zumindest auf der Oberfl盲che fehlenden Sinn. Dann las ich Endgame, kam zwar etwas schwerer in die Handlung rein, konnte mich dann aber von der Adaption mit David Thewlis 眉berzeugen lassen.
Und so wie seine beiden Vorg盲nger ist auch Happy Days ein kurzes, skurriles, absurdes St眉ck. Geschrieben 1960 wurde es ein Jahr sp盲ter in New York im Cherry Lane Theater uraufgef眉hrt. Die Winnie spielte Ruth White. Regie f眉hrte Alan Schneider, der im Jahr darauf auch Edward Albees thematisch verwandtes Erfolgsst眉ck Who鈥檚 Afraid of Virginia Woolf? inszenierte.
W盲hrend es die New Yorker Inszenierung auf 眉ber einhundert Vorstellungen brachte, reagierte die Kritik zwei Wochen sp盲ter auf die deutsche Premiere in der Werkstatt des Berliner Schillertheaters eher hilflos. Trotzdem war die Inszenierung unter der Regie von Walter Henn dank der schauspielerischen Leistung von Berta Drews in der Hauptrolle kein Misserfolg. Heute geh枚rt Happy Days 鈥� neben Waiting for Godot und Endgame 鈥� zu Becketts meistgespielten St眉cken.
Im zweiten Akt schaut aus dem "Grabh眉gel" nur noch Winnies Kopf heraus, und auch der kann nur noch Mund und Augen bewegen. Hinter dem H眉gel befindet sich ihr Ehemann Willie. W盲hrend Winnie fast pausenlos monologisiert, beschr盲nken sich die Beitr盲ge ihres Mannes auf wenige Gesten und Worte. Er liest die 脺berschriften und Inserate einer alten Tageszeitung, mit der er sich ab und zu k眉hlende Luft zuf盲chelt, und beantwortet Winnies Fragen einsilbig oder gar nicht. Einmal l盲sst er sich zu ein paar kr盲chzenden T枚nen eines Liedchens hinrei脽en, dann schweigt er lange, sodass Winnie schon vermutet, er sei gestorben. Erst in der Schlussminute verl盲sst er seine Deckung und kommt auf allen vieren, aber in voller Abendgarderobe hervorgekrochen und versucht, begleitet von Winnies Anfeuerungsrufen, den H眉gel zu erklimmen, um ihr Gesicht zu erreichen. Vergeblich. Er rutscht ab und bleibt ersch枚pft, mit dem Gesicht nach unten, ihr zu F眉脽en liegen. Als er wieder Kraft genug gesammelt hat, um wenigstens den Kopf zu heben, fl眉stert er ein einziges Mal, kaum h枚rbar, ihren Namen. Die beiden Alten starren sich lange und reglos an, bis der Vorhang gefallen ist.
In den St眉cken von Beckett geht es um die menschliche Existenz. Diese inszeniert er als Grenzsituation zwischen Leben und Tod. In seinen St眉cken finden wir Figuren, die auf der ewig entt盲uschten Illusion des Wartens beharren oder in tragikomischer Hilflosigkeit die Gewissheit ihres Verfalls 眉berspielen.
In Happy Days scheinen immer wieder "die guten alten Zeiten" durch, wir erhaschen Bruchst眉cke von Erinnerungen an die Vergangenheit: an den ersten Kuss, an Winnies Puppe Dolly und an die zwei Menschen, die sich hierher verirrten und Winnie begafften. Wir erfahren durch Winnies Ausfl眉che, dass es sich hierbei um ein neugieriges Ehepaar gehandelt habe, dass sich respektlos hinter ihrem R眉cken zu fragen wagte, warum sie in der Erde stecke, ob sie darunter nackt sei, warum Willie sie nicht ausgrabe und was das alles zu bedeuten habe 锟斤拷 all jene Fragen, die auch das Publikum umtreiben.
Die Absurdit盲t dieser Tragikom枚die manifestiert sich 盲u脽erlich schon darin, dass sich die beiden Restmenschen 鈥� sie nur noch ein Torso, dann nur noch Kopf; er nicht mehr homo erectus, sondern nur noch ein r枚chelnder Vierbeiner 鈥� trotz ihrer aussichtslosen Lage weiter einbilden, "gl眉ckliche Tage" zu erleben, ihre Festtagskleidung nicht ablegen, sich mit sentimentalen Liedchen 眉ber die Wirklichkeit hinwegt盲uschen, immer noch wie elektrisiert auf schw盲chste Lebenszeichen reagieren und neue Hoffnung sch枚pfen. Besonders Winnie, die all ihre Zeit auf die Pflege und Kosmetik ihres verfallenden, buchst盲blich in einem Grab versinkenden K枚rpers verwendet und so gleichsam eine permanente Selbstmumifizierung betreibt, dokumentiert die Paradoxie der Situation und die Naivit盲t der Protagonistin. Aber auch Willie, dessen letztes Aufflackern sexueller Gier 鈥� als grotesker H枚he- und Endpunkt 鈥� noch einmal einen Funken von l盲cherlicher Vitalit盲t aus ihm schl盲gt, unterstreicht die traurig skurrile Karikatur der Spezies Mensch.
Ich fand das St眉ck unheimlich schwierig zu lesen. Winnies endloser Monolog ging mir auf die Nerven. Ich kam nicht wirklich hinterher. Ihr Gebrabbel machte f眉r mich wenig Sinn. "Tedious" w盲re das Wort, mit dem ich ihren Monolog (und somit das St眉ck) beschreiben w眉rde, h盲tte ich mich f眉r eine englische Rezension entschieden. Ich habe kaum etwas angestrichen, insgesamt fanden nur 6 Sticky Tabs ihren Weg in dieses Buch. Es war z盲h. Das einzige Zitat, das h盲ngenblieb, ist Winnies Beschreibung vom Leben (bzw. der human condition): "... something something laughing wild amid severest woe." Das finde ich toll, weil treffend. Auf eine Art unglaublich optimistisch, auf die andere Art unheimlich traurig. Das beschreibt's doch eigentlich wirklich ganz gut.
***
Nach meinen initialen Ausruf versuchen wir es nun doch mal mit etwas mehr Substanz. Ich kann Beckett viel abgewinnen. Vor Jahren las ich Waiting for Godot und war verzaubert, von der Skurrilit盲t und Absurdit盲t des St眉cks, den st盲ndigen Wiederholungen und dem zumindest auf der Oberfl盲che fehlenden Sinn. Dann las ich Endgame, kam zwar etwas schwerer in die Handlung rein, konnte mich dann aber von der Adaption mit David Thewlis 眉berzeugen lassen.
Und so wie seine beiden Vorg盲nger ist auch Happy Days ein kurzes, skurriles, absurdes St眉ck. Geschrieben 1960 wurde es ein Jahr sp盲ter in New York im Cherry Lane Theater uraufgef眉hrt. Die Winnie spielte Ruth White. Regie f眉hrte Alan Schneider, der im Jahr darauf auch Edward Albees thematisch verwandtes Erfolgsst眉ck Who鈥檚 Afraid of Virginia Woolf? inszenierte.
W盲hrend es die New Yorker Inszenierung auf 眉ber einhundert Vorstellungen brachte, reagierte die Kritik zwei Wochen sp盲ter auf die deutsche Premiere in der Werkstatt des Berliner Schillertheaters eher hilflos. Trotzdem war die Inszenierung unter der Regie von Walter Henn dank der schauspielerischen Leistung von Berta Drews in der Hauptrolle kein Misserfolg. Heute geh枚rt Happy Days 鈥� neben Waiting for Godot und Endgame 鈥� zu Becketts meistgespielten St眉cken.
Winnie: "Another heavenly day."Im ersten Akt steckt Winnie, "eine etwa 50-j盲hrige, gut erhaltene Blondine", bis 眉ber die H眉fte in einem Erdh眉gel, der die gesamte Mitte der B眉hne einnimmt. Sie schl盲ft vorn眉ber gebeugt, den Kopf in den Armen ruhend. Erst das lange, durchdringende Schrillen einer Klingel weckt sie aus ihrem Schlummer. Neben ihr steht eine gro脽e schwarze Einkaufstasche, aus der sie im Laufe des ersten Aktes 鈥� neben verschiedenen Hygieneartikeln, Schminkutensilien und einer Lupe 鈥� auch einen Revolver hervorkramt. Gegen die glei脽ende Sonne, in die das St眉ck von Anfang bis Ende getaucht ist, versucht sie sich mit einem kleinen Sonnenschirm zu sch眉tzen, der jedoch bald in Flammen aufgeht. Ihr Oberk枚rper, 眉ber dessen nackte Schultern eine Perlenkette h盲ngt, ist bereits so steif geworden, dass sie sich nicht weit genug nach hinten wenden kann, um zu sehen, was in ihrem R眉cken vor sich vorgeht.
Im zweiten Akt schaut aus dem "Grabh眉gel" nur noch Winnies Kopf heraus, und auch der kann nur noch Mund und Augen bewegen. Hinter dem H眉gel befindet sich ihr Ehemann Willie. W盲hrend Winnie fast pausenlos monologisiert, beschr盲nken sich die Beitr盲ge ihres Mannes auf wenige Gesten und Worte. Er liest die 脺berschriften und Inserate einer alten Tageszeitung, mit der er sich ab und zu k眉hlende Luft zuf盲chelt, und beantwortet Winnies Fragen einsilbig oder gar nicht. Einmal l盲sst er sich zu ein paar kr盲chzenden T枚nen eines Liedchens hinrei脽en, dann schweigt er lange, sodass Winnie schon vermutet, er sei gestorben. Erst in der Schlussminute verl盲sst er seine Deckung und kommt auf allen vieren, aber in voller Abendgarderobe hervorgekrochen und versucht, begleitet von Winnies Anfeuerungsrufen, den H眉gel zu erklimmen, um ihr Gesicht zu erreichen. Vergeblich. Er rutscht ab und bleibt ersch枚pft, mit dem Gesicht nach unten, ihr zu F眉脽en liegen. Als er wieder Kraft genug gesammelt hat, um wenigstens den Kopf zu heben, fl眉stert er ein einziges Mal, kaum h枚rbar, ihren Namen. Die beiden Alten starren sich lange und reglos an, bis der Vorhang gefallen ist.
In den St眉cken von Beckett geht es um die menschliche Existenz. Diese inszeniert er als Grenzsituation zwischen Leben und Tod. In seinen St眉cken finden wir Figuren, die auf der ewig entt盲uschten Illusion des Wartens beharren oder in tragikomischer Hilflosigkeit die Gewissheit ihres Verfalls 眉berspielen.
In Happy Days scheinen immer wieder "die guten alten Zeiten" durch, wir erhaschen Bruchst眉cke von Erinnerungen an die Vergangenheit: an den ersten Kuss, an Winnies Puppe Dolly und an die zwei Menschen, die sich hierher verirrten und Winnie begafften. Wir erfahren durch Winnies Ausfl眉che, dass es sich hierbei um ein neugieriges Ehepaar gehandelt habe, dass sich respektlos hinter ihrem R眉cken zu fragen wagte, warum sie in der Erde stecke, ob sie darunter nackt sei, warum Willie sie nicht ausgrabe und was das alles zu bedeuten habe 锟斤拷 all jene Fragen, die auch das Publikum umtreiben.
Die Absurdit盲t dieser Tragikom枚die manifestiert sich 盲u脽erlich schon darin, dass sich die beiden Restmenschen 鈥� sie nur noch ein Torso, dann nur noch Kopf; er nicht mehr homo erectus, sondern nur noch ein r枚chelnder Vierbeiner 鈥� trotz ihrer aussichtslosen Lage weiter einbilden, "gl眉ckliche Tage" zu erleben, ihre Festtagskleidung nicht ablegen, sich mit sentimentalen Liedchen 眉ber die Wirklichkeit hinwegt盲uschen, immer noch wie elektrisiert auf schw盲chste Lebenszeichen reagieren und neue Hoffnung sch枚pfen. Besonders Winnie, die all ihre Zeit auf die Pflege und Kosmetik ihres verfallenden, buchst盲blich in einem Grab versinkenden K枚rpers verwendet und so gleichsam eine permanente Selbstmumifizierung betreibt, dokumentiert die Paradoxie der Situation und die Naivit盲t der Protagonistin. Aber auch Willie, dessen letztes Aufflackern sexueller Gier 鈥� als grotesker H枚he- und Endpunkt 鈥� noch einmal einen Funken von l盲cherlicher Vitalit盲t aus ihm schl盲gt, unterstreicht die traurig skurrile Karikatur der Spezies Mensch.
Ich fand das St眉ck unheimlich schwierig zu lesen. Winnies endloser Monolog ging mir auf die Nerven. Ich kam nicht wirklich hinterher. Ihr Gebrabbel machte f眉r mich wenig Sinn. "Tedious" w盲re das Wort, mit dem ich ihren Monolog (und somit das St眉ck) beschreiben w眉rde, h盲tte ich mich f眉r eine englische Rezension entschieden. Ich habe kaum etwas angestrichen, insgesamt fanden nur 6 Sticky Tabs ihren Weg in dieses Buch. Es war z盲h. Das einzige Zitat, das h盲ngenblieb, ist Winnies Beschreibung vom Leben (bzw. der human condition): "... something something laughing wild amid severest woe." Das finde ich toll, weil treffend. Auf eine Art unglaublich optimistisch, auf die andere Art unheimlich traurig. Das beschreibt's doch eigentlich wirklich ganz gut.
June 17, 2015
Wow... this left me all depressed and disillusioned about life, death and everything in between!
What I like is that the play begins with a surreal and bizarre situation and this doesn't clear up. This kind of makes you imagine all kinds of reasons why and how the woman and her husband are stuck there and living like that. There is so much in this play that makes it worth to read or see!
Winnie seems swallowed by the earth, can't walk first and in act two can't move anything but her head, and still is full of positive talk. Showing how people no matter what go on with life and talk hopeful and positive-saying how enjoyable things are- when you can't imagine how they endure it all. Winnie is still trying to look good and talks about happy days that will still occur. But doing and saying this all in such a fake manner as if trying to convince herself in believing the make believe (crap) she utters. She is stuck with her husband who seems apathetic in his ways and pays little attention to her. He too seems stuck to her, but why?, just because once he had proposed and she said yes. Making marriage a shameful reason to stay with someone. And even if Winnie knows her husbands needs peace, she calls him all the time wanting a reaction of some kind because that is what she needs.
Also the every day routine: brushing teeth, combing, make up etc is made so meaningless and empty. The way that Winnie does these routine activities makes it even more horrible as she seems to do it to pass time, get through the day and to avoid feeling the void/loneliness/emptiness of existence/her handicap - in other words the reality. She even forgets if she did or did not comb, what does it matter?
Both husband and wife pining away waiting for their own and each others death, sometimes long for it and sometime fearing it.
What also was interesting to me was when Winnie was saying how absurd it was that she had to wake at the sound of a bell and sleep at the sound of the bell. And why not wake or sleep when she felt like it? Still she continued to do so.
And oh the loneliness! how the couple doesn't really communicate, and is so isolated and seems lonely, still there is sometimes the comfort of another person, however there are occasions that you think they wouldn't mind getting rid of the other. At the end of the play I thought Willie would shoot Winnie, himself or both of them. But not doing so made it much stronger as it showed how awful and miserable the situation, people mostly endure and just wait until life is over by itself. Also you kind of feel there is no point to their lives.
Even concerns about the environment and the future of the earth are addressed: Winnie says "do you think there is no atmosphere?", the post apocalyptic scenery, them living in a hole/cave and the fact that it is always light so you know when to wake/sleep if you hear a bell??? To me these bizarre elements made it not only surrealistic but maybe a leap in the future, as if it were a science fiction. Then again maybe it was only meant as: why not question the houses we live in or the day/night rhythm we have just because we think we do it "right and according to how it is meant". Why do we think things are meant a way? For what purpose? What does it all lead to anyway?
What I found interesting was that I read that some people thought the play ended optimistic.. I really did not feel that way and would find it interesting to hear why some people thought this way.
What I like is that the play begins with a surreal and bizarre situation and this doesn't clear up. This kind of makes you imagine all kinds of reasons why and how the woman and her husband are stuck there and living like that. There is so much in this play that makes it worth to read or see!
Winnie seems swallowed by the earth, can't walk first and in act two can't move anything but her head, and still is full of positive talk. Showing how people no matter what go on with life and talk hopeful and positive-saying how enjoyable things are- when you can't imagine how they endure it all. Winnie is still trying to look good and talks about happy days that will still occur. But doing and saying this all in such a fake manner as if trying to convince herself in believing the make believe (crap) she utters. She is stuck with her husband who seems apathetic in his ways and pays little attention to her. He too seems stuck to her, but why?, just because once he had proposed and she said yes. Making marriage a shameful reason to stay with someone. And even if Winnie knows her husbands needs peace, she calls him all the time wanting a reaction of some kind because that is what she needs.
Also the every day routine: brushing teeth, combing, make up etc is made so meaningless and empty. The way that Winnie does these routine activities makes it even more horrible as she seems to do it to pass time, get through the day and to avoid feeling the void/loneliness/emptiness of existence/her handicap - in other words the reality. She even forgets if she did or did not comb, what does it matter?
Both husband and wife pining away waiting for their own and each others death, sometimes long for it and sometime fearing it.
What also was interesting to me was when Winnie was saying how absurd it was that she had to wake at the sound of a bell and sleep at the sound of the bell. And why not wake or sleep when she felt like it? Still she continued to do so.
And oh the loneliness! how the couple doesn't really communicate, and is so isolated and seems lonely, still there is sometimes the comfort of another person, however there are occasions that you think they wouldn't mind getting rid of the other. At the end of the play I thought Willie would shoot Winnie, himself or both of them. But not doing so made it much stronger as it showed how awful and miserable the situation, people mostly endure and just wait until life is over by itself. Also you kind of feel there is no point to their lives.
Even concerns about the environment and the future of the earth are addressed: Winnie says "do you think there is no atmosphere?", the post apocalyptic scenery, them living in a hole/cave and the fact that it is always light so you know when to wake/sleep if you hear a bell??? To me these bizarre elements made it not only surrealistic but maybe a leap in the future, as if it were a science fiction. Then again maybe it was only meant as: why not question the houses we live in or the day/night rhythm we have just because we think we do it "right and according to how it is meant". Why do we think things are meant a way? For what purpose? What does it all lead to anyway?
What I found interesting was that I read that some people thought the play ended optimistic.. I really did not feel that way and would find it interesting to hear why some people thought this way.
December 25, 2017
芦乇賵夭賴丕蹖 禺賵卮禄 丿丕爻鬲丕賳 夭賳 賵 賲乇丿蹖 賲蹖丕賳爻丕賱 丕爻鬲 讴賴 亘丕 賴賲 夭賳丿诏蹖 賲蹖鈥屭┵嗁嗀�. 夭賳 賲丿丕賲 丿乇 丨丕賱 氐丨亘鬲 賵 鬲讴鈥屭堐屰� 丕爻鬲 賵 賲乇丿 夭蹖丕丿 氐丨亘鬲 賳賲蹖鈥屭┵嗀� 賵 丿乇 鬲讴乇丕乇 卮乇丕蹖胤 夭賳丿诏蹖 夭賳貙 亘蹖丕賳 丕賳丿讴 噩賲賱丕鬲蹖 丕夭 賲乇丿 亘丕毓孬 賲蹖鈥屫促堌� 讴賴 夭賳 丌賳 乇賵夭 乇丕 乇賵夭 禺賵卮 禺賵丿 亘丿丕賳丿. 亘丕 倬蹖卮 乇賮鬲賳 丿丕爻鬲丕賳 夭賳 丿乇 鬲讴乇丕乇 夭賲丕賳 賵 夭賳丿诏蹖 亘丕夭 賴賲 丕賲蹖丿賵丕乇 丕爻鬲 鬲丕 乇賵夭蹖 禺賵卮 丿丕卮鬲賴 亘丕卮丿. 夭賳 賲丿丕賲 丨乇賮 賲蹖夭賳丿 賵賱蹖 賲乇丿 爻丕讴鬲 丕爻鬲 賵 賴乇丿賵 丿乇 倬蹖賱賴 鬲賳賴丕蹖蹖 禺賵 丕爻蹖乇賳丿.
賵蹖賳蹖 賵 賵蹖賱蹖 賲丨亘賵爻 丿乇 賲蹖丕賳 丨賮乇賴 賴丕 賴爻鬲賳丿. 倬丕賴丕蹖 賵蹖賱蹖 丌夭丕丿 丕爻鬲 賵 丕诏乇 亘禺賵丕賴丿 賲蹖鬲賵丕賳丿 賵蹖賳蹖 乇丕 丕夭 丨賮乇賴 丿乇丕賵乇丿 賵 賴乇丿賵 亘乇賵賳丿....丕夭 丕賳噩丕 賮乇丕乇 讴賳賳丿 丕賲丕 賴乇丿賵丕爻蹖乇 禺丕讴 賵 爻讴賵賳 賵 爻讴賵鬲賳丿 賵 诏賵蹖丕 賲賳鬲馗乇....賲賳鬲馗乇 乇賵夭賴丕蹖 禺賵卮 賳丿丕卮鬲賴!
賵蹖賳蹖 賵 賵蹖賱蹖 賲丨亘賵爻 丿乇 賲蹖丕賳 丨賮乇賴 賴丕 賴爻鬲賳丿. 倬丕賴丕蹖 賵蹖賱蹖 丌夭丕丿 丕爻鬲 賵 丕诏乇 亘禺賵丕賴丿 賲蹖鬲賵丕賳丿 賵蹖賳蹖 乇丕 丕夭 丨賮乇賴 丿乇丕賵乇丿 賵 賴乇丿賵 亘乇賵賳丿....丕夭 丕賳噩丕 賮乇丕乇 讴賳賳丿 丕賲丕 賴乇丿賵丕爻蹖乇 禺丕讴 賵 爻讴賵賳 賵 爻讴賵鬲賳丿 賵 诏賵蹖丕 賲賳鬲馗乇....賲賳鬲馗乇 乇賵夭賴丕蹖 禺賵卮 賳丿丕卮鬲賴!
December 23, 2018
螆谓伪 位蠀蟻喂魏蠈 蠄蠀蠂慰纬蟻伪蠁畏渭伪 , 渭喂伪 蟽魏喂伪纬蟻维蠁畏蟽畏 蟿畏蟼 蠉蟺伪蟻尉畏蟼 魏伪喂 蟿畏蟼 伪谓蠀蟺伪蟻尉委伪蟼 魏 蟿慰 蔚蟻蠋蟿畏渭伪 蟺慰蠀 蟿委胃蔚蟿伪喂 蟽蟿慰 蟿苇位慰蟼 蔚委谓伪喂:
螤慰喂蔚蟼 蔚委谓伪喂 慰喂 蟺蟻伪纬渭伪蟿喂魏维 蔚蠀蟿蠀蠂喂蟽渭苇谓蔚蟼 渭苇蟻蔚蟼 ?
韦畏谓 魏伪位蠉蟿蔚蟻畏 伪蟺维谓蟿畏蟽畏 胃伪 渭蟺慰蟻慰蠉蟽伪渭蔚 谓伪 尾蟻慰蠉渭蔚 , 蟽委纬慰蠀蟻伪 蠈渭蠅蟼 蠈蠂喂 渭慰谓伪未喂魏萎, 伪谓 尾维味伪渭蔚 蟿慰谓 螕慰蠀委位喂 谓伪 伪蟺伪谓蟿萎蟽蔚喂
螤慰喂蔚蟼 蔚委谓伪喂 慰喂 蟺蟻伪纬渭伪蟿喂魏维 蔚蠀蟿蠀蠂喂蟽渭苇谓蔚蟼 渭苇蟻蔚蟼 ?
韦畏谓 魏伪位蠉蟿蔚蟻畏 伪蟺维谓蟿畏蟽畏 胃伪 渭蟺慰蟻慰蠉蟽伪渭蔚 谓伪 尾蟻慰蠉渭蔚 , 蟽委纬慰蠀蟻伪 蠈渭蠅蟼 蠈蠂喂 渭慰谓伪未喂魏萎, 伪谓 尾维味伪渭蔚 蟿慰谓 螕慰蠀委位喂 谓伪 伪蟺伪谓蟿萎蟽蔚喂
March 2, 2021
Das muitas coisas boas que o meu projecto liter谩rio LinkedBooks me deixou, foi o gosto por ler teatro. Mas Samuel Beckett n茫o foi um autor que tenha adorado 脿 primeira...nem 脿 segunda...(), e s贸 agora nesta terceira pe莽a me parece que poderei ter come莽ado a entender a genialidade do autor.
Depois desta leitura concluo que o teatro naturalista, ou pelo menos as pe莽as de Beckett n茫o s茫o para serem apenas lidas. A palavra 茅 aqui, apenas um dos muitos instrumentos e recursos utilizados para transmitir a mensagem, sem ser sequer o recurso central ou o mais essencial.
Lida, parece-me que perde a sua for莽a, a sua inten莽茫o inicial, o fim para o qual o autor a concebeu e idealizou.
Imaginem se no livro que est茫o a ler agora, lessem frase sim frase n茫o, e talvez entendam um pouco melhor o que estou a tentar dizer...ou n茫o.馃槀
Apesar de tudo isso, Dias Felizes de Samuel Beckett deixou em mim uma forte impress茫o, e penso ter finalmente conseguido lobrigar o talento excepcional deste autor.
Notas:
i) A prop贸sito desta leitura foi-me informado (obrigada Ana Carina!) que seria essencial a leitura de , pe莽a sobre a qual j谩 ouvi muito falar e por isso a acrescentei 脿 "to read". Contudo, o que eu gostaria mesmo era ir ao teatro v锚-la (de prefer锚ncia com amigos, porque se for como as anteriormente lidas, dar谩 "pano para mangas" para conversa). Sr. Covid, veja l谩 se entende esta dica para se p么r a milhas... (que mais ser谩 preciso para ele entender que nunca foi bem-vindo?? 馃槀 )
ii) Da leitura do pref谩cio a esta edi莽茫o fiquei curiosa com a pe莽a de Ibsen (outro autor fundamental que quero descobrir).
iii) de Strindberg tamb茅m foi mencionada no pref谩cio, pe莽a que j谩 li, mas sobre a qual nunca cheguei a escrever uma review...espero conseguir colmatar essa falta brevemente.
Depois desta leitura concluo que o teatro naturalista, ou pelo menos as pe莽as de Beckett n茫o s茫o para serem apenas lidas. A palavra 茅 aqui, apenas um dos muitos instrumentos e recursos utilizados para transmitir a mensagem, sem ser sequer o recurso central ou o mais essencial.
Lida, parece-me que perde a sua for莽a, a sua inten莽茫o inicial, o fim para o qual o autor a concebeu e idealizou.
Imaginem se no livro que est茫o a ler agora, lessem frase sim frase n茫o, e talvez entendam um pouco melhor o que estou a tentar dizer...ou n茫o.馃槀
Apesar de tudo isso, Dias Felizes de Samuel Beckett deixou em mim uma forte impress茫o, e penso ter finalmente conseguido lobrigar o talento excepcional deste autor.
Notas:
i) A prop贸sito desta leitura foi-me informado (obrigada Ana Carina!) que seria essencial a leitura de , pe莽a sobre a qual j谩 ouvi muito falar e por isso a acrescentei 脿 "to read". Contudo, o que eu gostaria mesmo era ir ao teatro v锚-la (de prefer锚ncia com amigos, porque se for como as anteriormente lidas, dar谩 "pano para mangas" para conversa). Sr. Covid, veja l谩 se entende esta dica para se p么r a milhas... (que mais ser谩 preciso para ele entender que nunca foi bem-vindo?? 馃槀 )
ii) Da leitura do pref谩cio a esta edi莽茫o fiquei curiosa com a pe莽a de Ibsen (outro autor fundamental que quero descobrir).
iii) de Strindberg tamb茅m foi mencionada no pref谩cio, pe莽a que j谩 li, mas sobre a qual nunca cheguei a escrever uma review...espero conseguir colmatar essa falta brevemente.
April 10, 2020
乇亘毓 賵賯鬲賷 賲毓 丕賱賰鬲丕亘 賲囟賶 賮賷 賯乇丕亍鬲賴貙 賵孬賱丕孬丞 兀乇亘丕毓賴 丕賱兀禺乇賶 亘丕賱鬲兀賲賱 丕賱匕丕賴賱 賮賷 丕賱爻賯賮 賵丕賱噩丿乇丕賳 亘毓丿 賰賱 賲賯胤毓.
兀賳 鬲賰賵賳 毓賱賶 賯賷丿 卮毓乇丞 亘賷賳 丕賱丨囟賵乇 丕賱亘丕卅爻 兀賵 丕賱睾賷丕亘貙 亘賷賳 丕賱鬲賲爻賰 丕賱賴夭賷賱 亘丕賱賵噩賵丿 兀賵 丕賱鬲賱丕卮賷. 兀賳 鬲卮毓乇 亘賳賮爻賰 鬲胤賮賵 賮賷 丕賱毓丿賲貙 賲鬲噩賴丕賸 賳丨賵 鬲賱賰 丕賱賴丕賵賷丞 丕賱噩匕丕亘丞 亘禺賮丞 賵氐賮丕亍 毓馗賷賲丕賳.
賱賵賱丕 兀賳 賲毓乇賮鬲賷 亘賲噩丕賱 丕賱賲爻乇丨 囟卅賷賱丞貙 賱賯賱鬲 兀賳 亘賷賰賷鬲 兀毓馗賲 賰丕鬲亘 賲爻乇丨賷 毓賱賶 丕賱廿胤賱丕賯.
兀賳 鬲賰賵賳 毓賱賶 賯賷丿 卮毓乇丞 亘賷賳 丕賱丨囟賵乇 丕賱亘丕卅爻 兀賵 丕賱睾賷丕亘貙 亘賷賳 丕賱鬲賲爻賰 丕賱賴夭賷賱 亘丕賱賵噩賵丿 兀賵 丕賱鬲賱丕卮賷. 兀賳 鬲卮毓乇 亘賳賮爻賰 鬲胤賮賵 賮賷 丕賱毓丿賲貙 賲鬲噩賴丕賸 賳丨賵 鬲賱賰 丕賱賴丕賵賷丞 丕賱噩匕丕亘丞 亘禺賮丞 賵氐賮丕亍 毓馗賷賲丕賳.
賱賵賱丕 兀賳 賲毓乇賮鬲賷 亘賲噩丕賱 丕賱賲爻乇丨 囟卅賷賱丞貙 賱賯賱鬲 兀賳 亘賷賰賷鬲 兀毓馗賲 賰丕鬲亘 賲爻乇丨賷 毓賱賶 丕賱廿胤賱丕賯.
May 24, 2017
鈥�
鈥淚f you don't know where you are currently standing, you're dead.鈥�
Happy days! LOL!
I like this play. I consider myself a big fan of the absurd theatre 鈥� it represents life as it is.
Winnie and her husband Willie, represented most people nowadays 鈥� sinking in their daily routines without having any purpose.
Reading the dialogue between them was a pleasure for me, I enjoyed it. I think it was simple and meaningful. I think Happy Days is more beautiful than Beckett鈥檚 most famous play . I liked it more.
鈥淚f you don't know where you are currently standing, you're dead.鈥�
Happy days! LOL!
I like this play. I consider myself a big fan of the absurd theatre 鈥� it represents life as it is.
Winnie and her husband Willie, represented most people nowadays 鈥� sinking in their daily routines without having any purpose.
Reading the dialogue between them was a pleasure for me, I enjoyed it. I think it was simple and meaningful. I think Happy Days is more beautiful than Beckett鈥檚 most famous play . I liked it more.
March 19, 2017
"O que eu acho maravilhoso 茅 n茫o se passar um dia (Sorriso.) para falar 脿 moda antiga (Fim do sorriso.) quase nenhum, sem aprendermos qualquer coisa, por pouco que seja, desde que nos esforcemos por isso. E se, por raz玫es obscuras, o mais pequeno esfor莽o deixasse de ser poss铆vel, ent茫o 茅 s贸 fechar os olhos (Fecha-os.) e esperar que o dia chegue, o dia feliz em que a carne se derrete a tantos graus e a noite de luar dura tantas centenas de horas. (Pausa.) Eis o que eu acho reconfortante, quando perco a coragem e come莽o a invejar a sorte dos animais a caminho do matadouro."
March 19, 2021
...
鈥�
...
Is gravity what it was, Willie, I fancy not. [Pause.] Yes, the feeling more and more that if I were not held鈥擺gesture]鈥攊n this way, I would simply float up into the blue. [Pause.] And that perhaps some day the earth will yield and let me go, the pull is so great, yes, crack all round me and let me out. [Pause.] Don鈥檛 you ever have that feeling, Willie, of being sucked up? [Pause.] Don鈥檛 you have to cling on sometimes, Willie? [Pause. She turns a little towards him.] Willie. [Pause.]
鈥�
Ah yes, so little to say, so little to do, and the fear so great, certain days, of finding oneself . . . left, with hours still to run, before the bell for sleep, and nothing more to say, nothing more to do, that the days go by, certain days go by, quite by, the bell goes, and little or nothing said, little or nothing done. [Raising parasol.] That is the danger. [Turning front.] To be guarded against. [She gazes front, holding up parasol with right hand. Maximum pause.]
...
With the sun blazing so much fiercer down, and hourly fiercer, is it not natural things should go on fire never known to do so, in this way I mean, spontaneous like. [Pause.] Shall I myself not melt perhaps in the end, or burn, oh I do not mean necessarily burst into flames, no, just little by little be charred to a black cinder, all this鈥擺ample gesture of arms]鈥攙isible flesh. [Pause.] On the other hand, did I ever know a temperate time? [Pause.] No.
May 11, 2025
听芦韦喂 蔚委谓伪喂 伪蠀蟿蠈蟼 慰 胃蠈蟻蠀尾慰蟼;禄
螣 伪纬苇蟻伪蟼 魏维蟿蠅 伪蟺鈥� 锟斤拷畏谓 蟺蠈蟻蟿伪.
芦韦喂 蔚委谓伪喂 伪蠀蟿蠈蟼 慰 胃蠈蟻蠀尾慰蟼 蟿蠋蟻伪; 韦喂 魏维谓蔚喂 慰 伪纬苇蟻伪蟼;禄
韦委蟺慰蟿蔚 蟺维位喂 蟿委蟺慰蟿蔚.
T. S./ Eliot, 螆蟻畏渭畏 围蠋蟻伪, 1922 (渭蔚蟿. 螕. 危蔚蠁苇蟻畏).
螚 螕慰蠀委谓喂 渭慰谓慰位慰纬蔚委 蟽蠀谓蔚蠂蠋蟼路 魏维蟺慰蠀 蟽蔚 伪蟺蠈蟽蟿伪蟽畏 伪魏慰萎蟼 尾蟻委蟽魏蔚蟿伪喂 慰 蟽蠉谓蟿蟻慰蠁慰蟼 蟿畏蟼 螕慰蠀委位喂. 螌蟽慰 魏喂 伪谓 渭喂位维蔚喂, 蟽蠀谓蔚蠂委味蔚喂 谓伪 尾蠀胃委味蔚蟿伪喂 蟽蟿畏 纬畏 - 魏维蟿喂 蟺慰蠀 未蔚谓 蟽蟿伪渭伪蟿维蔚喂 渭蔚 蟿喂蟼 蟺伪蠉蟽蔚喂蟼 蟿畏蟼, 蟿畏谓 蟺蟻慰蟽蔚蠀蠂萎, 蟿畏谓 魏伪位萎 萎 魏伪魏萎 蟿畏蟼 未喂维胃蔚蟽畏. 螖蔚谓 蟽蟿伪渭伪蟿维蔚喂 渭蔚 蟿委蟺慰蟿伪..
螠喂伪 胃蔚伪蟿蟻喂魏萎 蔚渭蟺蔚喂蟻委伪 蟺慰蠀 未蔚谓 蟽蠀谓慰未蔚蠉蔚蟿伪喂 蔚蠉魏慰位伪 渭蔚 蟺慰蟺 魏慰蟻谓. 听听螣 蠂蟻蠈谓慰蟼 蟿慰谓 慰蟺慰委慰 蠁慰尾蠈渭伪蟽蟿蔚 魏喂 慰 蠂蟻蠈谓慰蟼 蟺慰蠀 蔚蟺喂胃蠀渭慰蠉渭蔚, 慰 螁位位慰蟼, 蟿慰谓 慰蟺慰委慰 苇蠂慰蠀渭蔚 萎 蔚委蠂伪渭蔚 魏维蟺慰蟿蔚 伪谓维纬魏畏路 魏伪喂 畏 伪蟺蠈纬谓蠅蟽畏, 蠁胃慰蟻维, 未蠉谓伪渭畏, 伪谓慰畏蟽委伪 魏伪喂 蟽慰蠁委伪 蟿慰蠀 蔚伪蠀蟿慰蠉.. 螚 蟺蟻慰慰未蔚蠀蟿喂魏萎 蟿伪蠉蟿喂蟽畏 蟺伪蟻蔚位胃蠈谓蟿慰蟼 魏伪喂 蟺伪蟻蠈谓蟿慰蟼, 畏 伪蟺蠋位蔚喂伪 蟿畏蟼 喂魏伪谓蠈蟿畏蟿伪蟼/胃苇位畏蟽畏蟼 纬喂伪 伪谓蟿喂蟽蟿慰委蠂畏蟽畏 蟿蠅谓 位苇尉蔚蠅谓 渭蔚 伪谓蟿喂魏蔚委渭蔚谓伪 魏伪喂 魏伪蟿伪蟽蟿维蟽蔚喂蟼. 听螣 螠蟺苇魏蔚蟿 未蔚谓 伪蟽蟿蔚喂蔚蠉蔚蟿伪喂..
螠蔚 蟿慰 鈥溛曄呄勏呄囄瓜兾嘉轿迪� 渭苇蟻蔚蟼鈥� 未蔚委蠂谓蔚喂 -纬喂伪 渭苇谓伪 蟿慰蠀位维蠂喂蟽蟿慰谓- 蟺蟻慰蟼 蟿畏谓 委未喂伪 魏伪蟿蔚蠉胃蠀谓蟽畏 渭蔚 蟿慰谓 螆位喂慰蟿:
鈥︹赌︹赌�.
螠喂伪 蟽蟿慰委尾伪 蟽蟺伪蟽渭苇谓蔚蟼 蔚喂魏蠈谓蔚蟼, 蠈蟺慰蠀 蠂蟿蠀蟺维蔚喂 慰 萎位喂慰蟼,
螝伪喂 未蔚 蟽慰蠀 未委谓蔚喂 蟽魏苇蟺畏 蟿慰 蟺蔚胃伪渭苇谓慰 未苇谓蟿蟻慰, 魏喂 慰 纬蟻蠉位慰蟼 伪谓伪魏慰蠉蠁喂蟽畏,
螝喂 畏 蟽蟿蔚纬谓萎 蟺苇蟿蟻伪 萎蠂慰 谓蔚蟻慰蠉. 螠蠈谓慰
螆蠂蔚喂 蟽魏喂维 蟽蟿慰谓 魏蠈魏魏喂谓慰 蟿慰蠉蟿慰 尾蟻维蠂慰,
(螆位伪 魏维蟿蠅 伪蟺鈥� 蟿慰谓 委蟽魏喂慰 蟿慰蠀 魏蠈魏魏喂谓慰蠀 尾蟻维蠂慰蠀),
螝伪喂 胃伪 蟽慰蠀 未蔚委尉蠅 魏维蟿喂 未喂伪蠁慰蟻蔚蟿喂魏蠈
螝喂 伪蟺蠈 蟿慰谓 委蟽魏喂慰 蟽慰蠀 蟿慰 蟺蟻蠅委 蟺慰蠀 未蟻伪蟽魏蔚位维蔚喂 尉慰蟺委蟽蠅 蟽慰蠀
螝喂 伪蟺蠈 蟿慰谓 委蟽魏喂慰 蟽慰蠀 蟿慰 尾蟻维未蠀 蟺慰蠀 慰蟻胃蠋谓蔚蟿伪喂 谓伪 蟽鈥� 伪谓蟿伪渭蠋蟽蔚喂
螠苇蟽伪 蟽蔚 渭喂伪 蠁慰蠉蠂蟿伪 蟽魏蠈谓畏 胃伪 蟽慰蠀 未蔚委尉蠅 蟿慰 蠁蠈尾慰.
螣 伪纬苇蟻伪蟼 魏维蟿蠅 伪蟺鈥� 锟斤拷畏谓 蟺蠈蟻蟿伪.
芦韦喂 蔚委谓伪喂 伪蠀蟿蠈蟼 慰 胃蠈蟻蠀尾慰蟼 蟿蠋蟻伪; 韦喂 魏维谓蔚喂 慰 伪纬苇蟻伪蟼;禄
韦委蟺慰蟿蔚 蟺维位喂 蟿委蟺慰蟿蔚.
T. S./ Eliot, 螆蟻畏渭畏 围蠋蟻伪, 1922 (渭蔚蟿. 螕. 危蔚蠁苇蟻畏).
螚 螕慰蠀委谓喂 渭慰谓慰位慰纬蔚委 蟽蠀谓蔚蠂蠋蟼路 魏维蟺慰蠀 蟽蔚 伪蟺蠈蟽蟿伪蟽畏 伪魏慰萎蟼 尾蟻委蟽魏蔚蟿伪喂 慰 蟽蠉谓蟿蟻慰蠁慰蟼 蟿畏蟼 螕慰蠀委位喂. 螌蟽慰 魏喂 伪谓 渭喂位维蔚喂, 蟽蠀谓蔚蠂委味蔚喂 谓伪 尾蠀胃委味蔚蟿伪喂 蟽蟿畏 纬畏 - 魏维蟿喂 蟺慰蠀 未蔚谓 蟽蟿伪渭伪蟿维蔚喂 渭蔚 蟿喂蟼 蟺伪蠉蟽蔚喂蟼 蟿畏蟼, 蟿畏谓 蟺蟻慰蟽蔚蠀蠂萎, 蟿畏谓 魏伪位萎 萎 魏伪魏萎 蟿畏蟼 未喂维胃蔚蟽畏. 螖蔚谓 蟽蟿伪渭伪蟿维蔚喂 渭蔚 蟿委蟺慰蟿伪..
螠喂伪 胃蔚伪蟿蟻喂魏萎 蔚渭蟺蔚喂蟻委伪 蟺慰蠀 未蔚谓 蟽蠀谓慰未蔚蠉蔚蟿伪喂 蔚蠉魏慰位伪 渭蔚 蟺慰蟺 魏慰蟻谓. 听听螣 蠂蟻蠈谓慰蟼 蟿慰谓 慰蟺慰委慰 蠁慰尾蠈渭伪蟽蟿蔚 魏喂 慰 蠂蟻蠈谓慰蟼 蟺慰蠀 蔚蟺喂胃蠀渭慰蠉渭蔚, 慰 螁位位慰蟼, 蟿慰谓 慰蟺慰委慰 苇蠂慰蠀渭蔚 萎 蔚委蠂伪渭蔚 魏维蟺慰蟿蔚 伪谓维纬魏畏路 魏伪喂 畏 伪蟺蠈纬谓蠅蟽畏, 蠁胃慰蟻维, 未蠉谓伪渭畏, 伪谓慰畏蟽委伪 魏伪喂 蟽慰蠁委伪 蟿慰蠀 蔚伪蠀蟿慰蠉.. 螚 蟺蟻慰慰未蔚蠀蟿喂魏萎 蟿伪蠉蟿喂蟽畏 蟺伪蟻蔚位胃蠈谓蟿慰蟼 魏伪喂 蟺伪蟻蠈谓蟿慰蟼, 畏 伪蟺蠋位蔚喂伪 蟿畏蟼 喂魏伪谓蠈蟿畏蟿伪蟼/胃苇位畏蟽畏蟼 纬喂伪 伪谓蟿喂蟽蟿慰委蠂畏蟽畏 蟿蠅谓 位苇尉蔚蠅谓 渭蔚 伪谓蟿喂魏蔚委渭蔚谓伪 魏伪喂 魏伪蟿伪蟽蟿维蟽蔚喂蟼. 听螣 螠蟺苇魏蔚蟿 未蔚谓 伪蟽蟿蔚喂蔚蠉蔚蟿伪喂..
螠蔚 蟿慰 鈥溛曄呄勏呄囄瓜兾嘉轿迪� 渭苇蟻蔚蟼鈥� 未蔚委蠂谓蔚喂 -纬喂伪 渭苇谓伪 蟿慰蠀位维蠂喂蟽蟿慰谓- 蟺蟻慰蟼 蟿畏谓 委未喂伪 魏伪蟿蔚蠉胃蠀谓蟽畏 渭蔚 蟿慰谓 螆位喂慰蟿:
鈥︹赌︹赌�.
螠喂伪 蟽蟿慰委尾伪 蟽蟺伪蟽渭苇谓蔚蟼 蔚喂魏蠈谓蔚蟼, 蠈蟺慰蠀 蠂蟿蠀蟺维蔚喂 慰 萎位喂慰蟼,
螝伪喂 未蔚 蟽慰蠀 未委谓蔚喂 蟽魏苇蟺畏 蟿慰 蟺蔚胃伪渭苇谓慰 未苇谓蟿蟻慰, 魏喂 慰 纬蟻蠉位慰蟼 伪谓伪魏慰蠉蠁喂蟽畏,
螝喂 畏 蟽蟿蔚纬谓萎 蟺苇蟿蟻伪 萎蠂慰 谓蔚蟻慰蠉. 螠蠈谓慰
螆蠂蔚喂 蟽魏喂维 蟽蟿慰谓 魏蠈魏魏喂谓慰 蟿慰蠉蟿慰 尾蟻维蠂慰,
(螆位伪 魏维蟿蠅 伪蟺鈥� 蟿慰谓 委蟽魏喂慰 蟿慰蠀 魏蠈魏魏喂谓慰蠀 尾蟻维蠂慰蠀),
螝伪喂 胃伪 蟽慰蠀 未蔚委尉蠅 魏维蟿喂 未喂伪蠁慰蟻蔚蟿喂魏蠈
螝喂 伪蟺蠈 蟿慰谓 委蟽魏喂慰 蟽慰蠀 蟿慰 蟺蟻蠅委 蟺慰蠀 未蟻伪蟽魏蔚位维蔚喂 尉慰蟺委蟽蠅 蟽慰蠀
螝喂 伪蟺蠈 蟿慰谓 委蟽魏喂慰 蟽慰蠀 蟿慰 尾蟻维未蠀 蟺慰蠀 慰蟻胃蠋谓蔚蟿伪喂 谓伪 蟽鈥� 伪谓蟿伪渭蠋蟽蔚喂
螠苇蟽伪 蟽蔚 渭喂伪 蠁慰蠉蠂蟿伪 蟽魏蠈谓畏 胃伪 蟽慰蠀 未蔚委尉蠅 蟿慰 蠁蠈尾慰.
August 16, 2020
賲賰丕賳卮 賲賵丿 毓亘孬賷丞 賵賱丕 氐丕賲賵賷賱 亘賷賰賷鬲 禺丕賱氐 馃う馃徎鈥嶁檧
丕賱匕賳亘 匕賳亘賷.. 賲丕賴賵 丕賳丕 賱賵 賲禺鬲丕乇鬲卮 丨丕噩丞 鬲夭賴賯賳賷 亘夭賷丕丿丞 賵 丕賳丕 already 夭賴賯丕賳丞 賲亘賯丕卮 賷丕爻賲賷賳 馃し馃徎鈥嶁檧
賵 賱廿賳賷 賮丕賴賲丞 丿賲丕睾 亘賷賰賷鬲 賵 丿賷 賲卮 鬲噩乇亘鬲賷 丕賱兀賵賱賶 賲毓丕賴貨 賴丿賷賴丕 3 賳噩賵賲 亘丕賱乇睾賲 廿賳賷 鬲噩鬲丕丨賳賷 乇睾亘丞 卮丿賷丿丞 賮 丕賱匕賴丕亘 賱賯胤毓 卮乇丕賷賳賷 賳丕賵貙 賰鬲賾乇 禺賷乇 丕賱丿賳賷丕 馃槩
爻賱丕賲 馃毝馃徎鈥嶁檧
丕賱匕賳亘 匕賳亘賷.. 賲丕賴賵 丕賳丕 賱賵 賲禺鬲丕乇鬲卮 丨丕噩丞 鬲夭賴賯賳賷 亘夭賷丕丿丞 賵 丕賳丕 already 夭賴賯丕賳丞 賲亘賯丕卮 賷丕爻賲賷賳 馃し馃徎鈥嶁檧
賵 賱廿賳賷 賮丕賴賲丞 丿賲丕睾 亘賷賰賷鬲 賵 丿賷 賲卮 鬲噩乇亘鬲賷 丕賱兀賵賱賶 賲毓丕賴貨 賴丿賷賴丕 3 賳噩賵賲 亘丕賱乇睾賲 廿賳賷 鬲噩鬲丕丨賳賷 乇睾亘丞 卮丿賷丿丞 賮 丕賱匕賴丕亘 賱賯胤毓 卮乇丕賷賳賷 賳丕賵貙 賰鬲賾乇 禺賷乇 丕賱丿賳賷丕 馃槩
爻賱丕賲 馃毝馃徎鈥嶁檧
May 15, 2017
The reason for a one star rating, presented without comment:
-no pain- (looks for toothbrush)-
hardly any- (takes up toothbrush)-great
thng that- (examines handle of brush) -
nothg like it- (examines handle, reads) -
pure .. . what?-(pause) - what?- (lays
down brush)-ah yes- (turns towards bag)
-poor Wilie- (rumages in bag)-no zest
- (rummages)-for anythig-(brings out
spectacles in case)-no interest-(turs back
front) -in lie -(takes spectacles from case)
-poor dear Wilie- (lays down case) - sleep
for ever-( opens spectacles)-marvellous gift
- (puts on spectacles)-nothig to touch it颅
(looks for toothbrush)-in my opinion-
(takes up toothbrush)-always said so颅
(examines handle of brush)-wish I had it
- (examines handle, reads)-genuie . . .
pure . . . what?- (lays down brush)-blnd
next- (takes o铿€ spectacles)-ah well- (lays
down spectacles)-seen enough- (feels in
bodice for handkerchief) - I suppose- (takes
out folded handkerchief)-by now- (shakes
out handkerchief)-what are those wonderful
lines- (wipes one eye) - woe woe is me颅
(wipes the other) - to see what I see- (looks
for spectacles) - ah yes-(takes up spectacles)
- wouldn't ms it - (starts polishing
spectacles, breathing on lenses) - or would I ?
- (polishes) - holy light - (polishes) - bob
up out of dark - (polishes) - blaze of hellsh
light.
-no pain- (looks for toothbrush)-
hardly any- (takes up toothbrush)-great
thng that- (examines handle of brush) -
nothg like it- (examines handle, reads) -
pure .. . what?-(pause) - what?- (lays
down brush)-ah yes- (turns towards bag)
-poor Wilie- (rumages in bag)-no zest
- (rummages)-for anythig-(brings out
spectacles in case)-no interest-(turs back
front) -in lie -(takes spectacles from case)
-poor dear Wilie- (lays down case) - sleep
for ever-( opens spectacles)-marvellous gift
- (puts on spectacles)-nothig to touch it颅
(looks for toothbrush)-in my opinion-
(takes up toothbrush)-always said so颅
(examines handle of brush)-wish I had it
- (examines handle, reads)-genuie . . .
pure . . . what?- (lays down brush)-blnd
next- (takes o铿€ spectacles)-ah well- (lays
down spectacles)-seen enough- (feels in
bodice for handkerchief) - I suppose- (takes
out folded handkerchief)-by now- (shakes
out handkerchief)-what are those wonderful
lines- (wipes one eye) - woe woe is me颅
(wipes the other) - to see what I see- (looks
for spectacles) - ah yes-(takes up spectacles)
- wouldn't ms it - (starts polishing
spectacles, breathing on lenses) - or would I ?
- (polishes) - holy light - (polishes) - bob
up out of dark - (polishes) - blaze of hellsh
light.
December 3, 2017
This is bullshit.
Saw this live with a talented cast, and by that I mean one actress. Perhaps I'm one of those incompetent dilettante who is too dumb to appreciate Beckett's genius, but I can honestly say this has no redeemable qualities. None whatsoever. If you left the performance 5, 15, 25, or 35 minutes into the play, or stayed at the end, it wouldn't have made a difference. Historical and philosophical allusions aside, this is complete drivel. People like clever writers and clever plays, but I think sometimes the emperor really has no clothes. It is interesting to see reviewers bashing themselves over not understanding this, never daring to concede that perhaps there is nothing there to understand. No profundity, just a joke on us, that we are willing to see a Becket play because Becket wrote it, and then ponder continuously thinking there must be some profound meaning within. There is no depth, just garbage. If you cut out words from a newspaper and threw them on a page randomly, I think it would make for a more enjoyable performance. At least that would be truly absurd.
Saw this live with a talented cast, and by that I mean one actress. Perhaps I'm one of those incompetent dilettante who is too dumb to appreciate Beckett's genius, but I can honestly say this has no redeemable qualities. None whatsoever. If you left the performance 5, 15, 25, or 35 minutes into the play, or stayed at the end, it wouldn't have made a difference. Historical and philosophical allusions aside, this is complete drivel. People like clever writers and clever plays, but I think sometimes the emperor really has no clothes. It is interesting to see reviewers bashing themselves over not understanding this, never daring to concede that perhaps there is nothing there to understand. No profundity, just a joke on us, that we are willing to see a Becket play because Becket wrote it, and then ponder continuously thinking there must be some profound meaning within. There is no depth, just garbage. If you cut out words from a newspaper and threw them on a page randomly, I think it would make for a more enjoyable performance. At least that would be truly absurd.
November 2, 2023
Deze eerste echte kennismaking met het toneel van Samuel Beckett 鈥� waar veel collega鈥檚 van het Departement Letterkunde rond werken 鈥� was aangenaam. Door de enorm talrijke en gedetailleerde toneelaanwijzingen tussen de woorden van de twee personages (Winnie en Willie) is het wellicht aantrekkelijker om het stuk te zien en te horen dan te lezen, maar dat zal dan voor een andere keer zijn (op Youtube vond ik wel een volledige Engelstalige opvoering met Russische ondertitels).
Ik las Gelukkige dagen/Happy days omdat Ni帽a Weijers er in De consequenties veelvuldig aan refereert. Weijers maakt daarbij gebruik van zowel de Nederlands- als de Engelstalige versie van het stuk. Daarmee nodigt ze uit om de hoofdpersonages (Winnie en Minnie) met elkaar te vergelijken, maar de intertekstuele verbanden roepen eveneens vragen op over de rol van Dr. Johnstone (in Happy Days: Mr. Johnson, or Johnston, or perhaps I should say Johnstone) en het belang van (ook literaire) herInneringen. Is de levenshouding van Winnie en Minnie positief en leidt die tot geluk? Het einde van Gelukkige dagen/Happy Days is een toneelaanwijzing die zowel op wanhoop als berusting kan duiden: 鈥楶auze. Gelukkige gelaatsuitdrukking verdwijnt. Ze sluit ogen. Bel klinkt luid. Ze opent de ogen. Ze glimlacht, staart voor zich uit. Ze richt haar ogen glimlachend op Willie die, nog altijd op handen en knie毛n liggend, naar haar opkijkt. Glimlach verdwijnt. Ze kijken elkaar aan. Lange pauze鈥�.
Ik las Gelukkige dagen/Happy days omdat Ni帽a Weijers er in De consequenties veelvuldig aan refereert. Weijers maakt daarbij gebruik van zowel de Nederlands- als de Engelstalige versie van het stuk. Daarmee nodigt ze uit om de hoofdpersonages (Winnie en Minnie) met elkaar te vergelijken, maar de intertekstuele verbanden roepen eveneens vragen op over de rol van Dr. Johnstone (in Happy Days: Mr. Johnson, or Johnston, or perhaps I should say Johnstone) en het belang van (ook literaire) herInneringen. Is de levenshouding van Winnie en Minnie positief en leidt die tot geluk? Het einde van Gelukkige dagen/Happy Days is een toneelaanwijzing die zowel op wanhoop als berusting kan duiden: 鈥楶auze. Gelukkige gelaatsuitdrukking verdwijnt. Ze sluit ogen. Bel klinkt luid. Ze opent de ogen. Ze glimlacht, staart voor zich uit. Ze richt haar ogen glimlachend op Willie die, nog altijd op handen en knie毛n liggend, naar haar opkijkt. Glimlach verdwijnt. Ze kijken elkaar aan. Lange pauze鈥�.
October 14, 2021
In a Brian Eno biography, a story is told of he and John Cale out to dinner and out of their minds on coke. Cale, at the time concurrently slipping further into alcoholism, was already known by this point for cutting an infamous figure; just watch footage of him tearing up the floorboards on Rockpalast for a taste of pretty obvious cocaine psychosis-terror. Or, you know, listen to anything after Paris 1919. Anyhow鈥擟ale sets the check on fire and all hell breaks out in the restaurant. Cale doesn鈥檛 take well to the management鈥檚 policy on arson, let鈥檚 say, and a proper kerfuffle, with flames, ensues. Throughout the entire affair, Eno is caught in a fit of laughter he can鈥檛 control. The only thing he is heard to snort out during this spasm of hysterics is, 鈥極h, horseplay!鈥� Repeatedly.
This play is Brian Eno watching John Cale wrestle with fire. Oh, horseplay!
This play is Brian Eno watching John Cale wrestle with fire. Oh, horseplay!
April 22, 2022
賵蹖賳蹖 丿乇 丨丕賱 賮乇賵 乇賮鬲賳 丕爻鬲. 夭賲蹖賳 丿丕乇丿 丕賵 乇丕 賲蹖 亘賱毓丿. 丕賵 賮賯胤 丿賱卮 賲蹖 禺賵丕賴丿 丨乇賮 亘夭賳丿. 丨乇賮 賴丕蹖 鬲讴賴 鬲讴賴貙听 讴賲蹖 禺丕胤乇丕鬲 丿賵乇貙 鬲讴乇丕乇蹖. ( 賴賲丕賳 丨乇賮 賴丕蹖 亘讴鬲蹖) 丕亘鬲丿丕 讴賴 丿爻鬲 賴丕蹖卮 丌夭丕丿 丕爻鬲 亘賴 丕爻賱丨賴 丕蹖 讴賴 丿乇 讴蹖賮卮 丕爻鬲 亘乇 賲蹖 禺賵乇丿.听 賵賱蹖 丌丿賲 賴丕蹖 亘讴鬲 毓乇囟賴 蹖 禺賵丿讴卮蹖 賳丿丕乇賳丿. 賲賳鬲馗乇賳丿. 賵爻賵丕爻 鬲讴乇丕乇 丿丕乇賳丿. 賵蹖賳蹖 賲賳鬲馗乇 氐丿丕蹖 夭賳诏蹖 丕爻鬲 讴賴 賵賯鬲 禺賵丕亘 賵 亘蹖丿丕乇蹖 乇丕 丕毓賱丕賲 賲蹖 讴賳丿. 賵蹖賳蹖 丨乇賮 賲蹖 夭賳丿. 丨乇賮 賲蹖 夭賳丿. 賮賯胤 蹖讴 诏賵卮 賲蹖 禺賵丕賴丿. 賵蹖賱蹖 诏賵卮 丕賵爻鬲. 丿乇 倬乇丿賴 蹖 丕賵賱 鬲讴賴 賴丕蹖蹖 丕夭 乇賵夭賳丕賲賴 賵 讴賱丕賴 賵 丿爻鬲卮 乇丕 賲蹖亘蹖賳蹖賲. 趩乇丕 賵蹖賱蹖 丿乇 爻賵乇丕禺卮 賮乇賵 乇賮鬲賴責 趩乇丕 賵蹖賳蹖 乇丕 賳噩丕鬲 賳賲蹖 丿賴丿 丕夭 亘賱毓蹖丿賴 卮丿賳 鬲賵爻胤 夭賲蹖賳責 丌賳賴丕 賮賯胤 賲蹖 鬲賵丕賳賳丿 亘丕賴賲 丕賳鬲馗丕乇 亘讴卮賳丿. 丕蹖賳噩丕 賳噩丕鬲蹖 賳蹖爻鬲. 賮賯胤 丕賳鬲馗丕乇 倬丕蹖丕賳.听听听
March 13, 2020
丕诏乇 賲蹖 鬲賵丕賳爻鬲賲 鬲賳賴丕蹖蹖 乇丕 鬲丨賲賱 讴賳賲 禺賵亘 亘賵丿. 亘丕 禺賵丿賲 丨乇賮 亘夭賳賲. 賴蹖趩 讴爻 賴賲 賳亘丕卮丿 亘卮賳賵丿... 丕賱亘鬲賴 賲蹖 丿丕賳賲 鬲賵 賴賲 趩賳丿丕賳 趩蹖夭蹖 賳賲蹖 卮賳賵蹖... 丕賲丕 乇賵夭賴丕蹖蹖 賴賲 賴爻鬲 讴賴 噩賵丕亘 賲蹖 丿賴蹖... 亘賳丕亘乇蹖賳 賲賳 賴賲蹖卮賴 賲蹖 鬲賵丕賳賲 亘诏賵蹖賲貙 丨鬲蹖 賵賯鬲蹖 賲賴 噩賵丕亘 賴賲 賳賲蹖 丿賴蹖貙 卮丕蹖丿 賴賲 賴蹖趩 趩蹖夭蹖 賳賲蹖 卮賳賵蹖貙 賲蹖 鬲賵丕賳賲 亘诏賵蹖賲 讴賴 亘毓囟蹖 丕夭 丨乇賮賴丕蹖賲 卮賳蹖丿賴 賲蹖 卮賵丿貙 讴賴 賴蹖趩 賵賯鬲 賲丿鬲 丿乇丕夭蹖 丨乇賮 賳夭丿賴 丕賲貙 賮賯胤 亘丕 禺賵丿賲貙 鬲賵 亘乇 亘乇賴賵鬲貙 趩賵賳 丕蹖賳 乇丕 賴蹖趩 賳賲蹖 鬲賵丕賳賲 鬲丨賲賱 讴賳賲... 丕蹖賳 丕爻鬲 讴賴 賲蹖 鬲賵丕賳賲 丕丿丕賲賴 亘丿賴賲貙 蹖毓賳蹖 亘賴 丨乇賮 夭丿賳賲 丕丿丕賲賴 亘丿賴賲.
October 7, 2019
This is a solemn comedy, Winnie and Willie are mostly buried in sand. From the moment Winnie wakes she does not stop talking, Willie contributes very little and spends most of his time not facing Winnie or listening to her. Ultimately, Winnie is alone with very little to do but keeps cheerful, as the play unfolds this cheeriness has a bitter sour to it.
I came across this play when it was first televised, it was part of the Beckett on Film project. The staging is dynamic but the drama comes from Winnie鈥檚 chatty nature and her struggle to fill the void of the endless hours by distracting herself with memories and staying busy with daily routines to feels tragic. More so, when she is alert to every new thing Willie does and voices pleasures. Where the moment passes as quickly as it comes highlighting the fragility of her happiness.
Reading this was harder than watching it. It鈥檚 a wonderful play but it took me a while to get my bearings as the dialogue is constantly broken up with (sometimes very prescriptive) direction. However, reading this made me see clearer the struggle Winnie has to keep feeling alive, a challenge as she is stuck and cannot dig herself out (and accepts that Willie can do nothing to help her either). Regardless, she soldiers on, determined to stay positive, but her predicament makes her happiness sobering.
An extract from Act One:
Aside from the two characters, nothing is wasted in this play, every object and prop are also advocating to who Winnie is. I鈥檝e read a tiny bit about Existentialism and Theatre of the Absurd in relation to Samuel Beckett, but I liked how the play鈥檚 quirkiness allowed me to enjoy and grasp a big philosophical idea without making me feel I had to understand it thoroughly.
I came across this play when it was first televised, it was part of the Beckett on Film project. The staging is dynamic but the drama comes from Winnie鈥檚 chatty nature and her struggle to fill the void of the endless hours by distracting herself with memories and staying busy with daily routines to feels tragic. More so, when she is alert to every new thing Willie does and voices pleasures. Where the moment passes as quickly as it comes highlighting the fragility of her happiness.
Reading this was harder than watching it. It鈥檚 a wonderful play but it took me a while to get my bearings as the dialogue is constantly broken up with (sometimes very prescriptive) direction. However, reading this made me see clearer the struggle Winnie has to keep feeling alive, a challenge as she is stuck and cannot dig herself out (and accepts that Willie can do nothing to help her either). Regardless, she soldiers on, determined to stay positive, but her predicament makes her happiness sobering.
An extract from Act One:
WINNIE:
鈥� Willie, speaking of your hair, them or it? (Pause.) The hair on your head, I mean. (Pause. Turning a little further.) The hair on your head, Willie, what would you say speaking of the hair on your head, them or it?
Long pause.
WILLIE:
It.
WINNIE:
(turning back front, joyful) Oh you are going to talk to me today, this is going to be a happy day! (Pause. Joy off.) Another happy day.
(Pause.)
Aside from the two characters, nothing is wasted in this play, every object and prop are also advocating to who Winnie is. I鈥檝e read a tiny bit about Existentialism and Theatre of the Absurd in relation to Samuel Beckett, but I liked how the play鈥檚 quirkiness allowed me to enjoy and grasp a big philosophical idea without making me feel I had to understand it thoroughly.
October 27, 2023
This one-act play by consists of two characters, one of whom is seen only indirectly and heard from infrequently. Most of the dialogue -- over 95% of it -- is voiced by Winnie, with Willie, her husband, the other character. is not one of the dramatist's better known plays, but it is definitely worth a look. The tone is conveyed by this line of Winnie's:
Ah yes, so little to say, so little to do, and the fear so great, certain days, of finding oneself ... left, with hours still to run, before the bell for sleep, and nothing more to say, nothing more to do, that the days go by, certain days go by, quite by, the bell goes, and little or nothing said, little or nothing done.
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