Beckett vs Satre

Psychological suffering versus physical torture is one of the central themes in No Exit by French playwright Jean Paul Sartre. Sartre’s famous quote that “hell is other people” (45) is illustrated through the interactions among Garcin, Inez and Estelle. Through psychological suffering the characters’ self-destructive flaws are revealed which ultimately emphasizes how each of them are responsible for their own fate. The characters have the freedom of will to help redeem each other but choose not to. To subtly reinforce the theme, even the style of the play is psychologically wearing on the audience.

“In “No Exit”, a great play by Sartre, there existed a mixture of both authentic and inauthentic characters. The play begins by Garcin entering an exceptionally secretive room joined by the room-valet. Minutes after the fact, the room-valet goes with Inez and after that Estelle into the same room. They have all been conveyed to the hereafter room for their damnation. They begin examining what” happened to “bring every one here or at the end of the day how did each of them kick the bucket. Every takes swing to talk their contemplations; however the returns are not completely clear at first. Estelle declines to feel that she is broken and believes that she could have been conveyed here by slip-up and tries to persuade everybody in the room

Theatre is a complex art that attempts to weave stories of varying degrees of intricacies with the hope that feelings will be elicited from the audience. Samuel Beckett’s most famous work in the theatre world, however, is Waiting for Godot, the play in which, according to well-known Irish critic Vivian Mercier, “nothing happens, twice.” Beckett pioneered many different levels of groundbreaking and avant-garde theatre and had a large influence on the section of the modern idea of presentational theatre as opposed to the representational. His career seemingly marks the end of modernism in theatre and the creation of what is known as the “Theatre of the Absurd.”

How Brecht achieves producing this state of consciousness is more subtle and elegant than the previous technique of having actors walk out with blatant placards to remind the audience that they are watching a play. One of the marks of Brecht’s epic theater is his alienation effect, or “a representation which allows [the audience] to recognize its subject, but at the same time makes it seem unfamiliar” (Brecht 1948, 8).

From the beginning moments in the story of The Outcasts of Poker Flat, starting when there is talk in the town of Poker Flat about plans to rid the community of improper persons gambling main character, John Oakhurst, contained himself and remained cool and collected about the situation he was becoming aware of. Bret Harte’s use of voice portrays a calming effect for the reader that lessens the dramatic upsets of the situations in the story being told. The town of Poker Flat was determined to get rid of a specific four characters who were cause for trouble and harm to the community, the expert gambler John Oakhurst, a prostitute referred to as “The Duchess”, the owner of a brothel whom they called “Mother Shipton”, and a suspected thief and drunk “Uncle Billy”. Throughout the story multiple situations arise among the characters that are cause for distress and concern, but the voice Harte uses to tell the story reduces the concern of the readers.

Thesis: The play “No Exit” and the movie “The Breakfast Club” are similar in several ways. They both share three common themes. They share the themes of isolation, freedom and confinement, courage, and suffering. Each of these themes are shown in different ways depending on the character and how they chose to deal with the situation that they are in. (Isolation is shown in “No Exit” through Garcin who isolates himself from the group because of a fear of his.

No Exit by Jean Sartre is a play based on the concept of hell. In No Exit, hell is a room where prisoners are placed for eternity with other people. This type of hell proved to be a very effective form of torture. Estelle a prisoner of hell, believes she was mistakenly placed in the wrong room. Estelle is portrayed as a narcissistic woman. Although Estelle seems harmless, her presence affects Credeau and Inez torturously. By portraying Estelle’s homophobic behavior and low self esteem, Sartre establishes her role in the play as the tormentor of everyone in the room including herself.

The relations between art and life is explored throughout Martin McDonagh’s play, The Pillowman and Muriel Spark’s Loitering With Intent. They explore these relations through discussing the stylistic features of their characters and how these characters are perceived in real life. Both authors explore how the preconceived ideas of what a character should be is dismantled and the line which distinguishes between art and life is becoming less clear. Another way in which these authors explore the link between art and life is through the act of storytelling. This suggests that life is a form of art. Both texts deal with the argument of whether it is life that influences art or art that influences life. Some literary critics such as Henry James

The world is thriving in a miscellaneous collection of well-known types of media that allow people to indulge in new societies, sophistications, and stories they have never known before. Correspondingly, there is an assortment of ways to analyze this media to further understand the reason behind having meaning in literature in addition to the recipients’ responses to these specific meanings. In particular, one method used to examine media, as well as its ongoing objective in both classic and contemporary society, is Kenneth Burke’s dramatic pentad. In response to evaluating narratives from divergent perspectives, the pentadic analysis is composed of five parts: agent, scene, act, agency, and purpose. For instance, by applying this analyzation technique to the 1991 Howard Zieff film My Girl it can be illustrated through which means these five elements create value in a fictional composition. Specifically, My Girl is primarily an agent-based film focusing on Vada's Sultenfuss' exploration of life through the means of death. However, Vada's circumstances of her mother's passing during childbirth and father's house-run funeral parlour creates a narrative focused on purpose by being the initial reason Vada has an obsession with demise and disease.

This quarrel demonstrates the discrepancy between the two powerhouses. Jack’s persistence in hunting a pig reveals his savage, impulsive self. Meanwhile, Ralph’s unyielding demand for a shelter shows that he is a stable person. He is a more fitting leader for ordinary people, but when the survival game begins, Jack’s overthrow is anticipated.

This is established at the beginning of Act 1, through an allusion to Christian philosophy in Vladimir’s dialogue about the fable of the two thieves, where ‘One is supposed to have been saved and the other damned’. In his allusion to the Bible, Beckett emphasises chance being woven into even the most sacred of texts that supposedly hold the ultimate truth for humanity. Moreover, in his book Understanding Samuel Beckett (1990), Alan Astro highlights that it is God 's silence that causes the real hopelessness amidst all the comical actions of Beckett’s characters. He suggests, "the recourse to bookkeeping by the philosopher (Pascal) no less than the clownish tramp shows how helpless we are with respect to God 's silence". However, while Beckett’s play is concerned with a loss of meaning, it raises a positive message, implying “we are free to give our own lives meaning and purpose, free to redeem our suffering by making something of it” (Kaufmann). While Beckett sees little reason for hope after witnessing the trauma caused by the very weapons meant to preserve world peace, he is unable to relinquish it entirely. This is evident in the symbol of the tree. The tree is central to the set design of the play, for the sprouting of leaves in act 2, metaphorically suggests new life and resolution- an image of hope against

In the first poem ‘Morning’ there are elements of the final poem ‘Dawn’, emphasising the cyclical nature of the suite which is similar to Beckett’s play. The literary movements of neoclassicism and romanticism, and their differences are personified in the struggle of the main character. This is evident in the sonnet ‘Midday’, where there is a clash between the rigid structure of the workplace environment and what the character wants to achieve: “I longed to create something more divine/but my ideas were rendered moot.” This helped provide a base for the story and accentuates the

Twelfth Night and The Servant of Two Masters both relate to this course’s theme of the carnivalesque. Both plays share the commonality of having a clown, or a fool; in Twelfth Night it is Feste or the Fool, and in The Servant of Two Masters it is Truffaldino. Both characters play the fool in contrasting ways to express similar yet different forms of the carnivalesque. During carnival, laughter is prominent; people are laughing together, they are laughing at each other, and they are being laughed at. The laughter of carnival is both malicious and happy and everyone is included in it. Feste and Truffaldino show the different aspects of carnival laughter through their portrayals of the fool. Feste plays the role of the artificial fool

In addition, Meursault’s sensory experience of life, his physical pleasures and in-the-now perspective, is a demonstration of living life to the fullest. The absurdist must live life passionately, putting all of one’s weight into existence by not wasting time or energy on the ethereal or ephemeral. The fact that Meursault does not want to think about religion, even as he awaits execution, shows how the ideal absurdist would live life: loyal to one’s own being until the end – not to a father in the sky, or to an abstract hope. Meaning of one’s life must come from one’s own creative efforts. Meursault’s indifference to spiritual matters – and even sensory matters that are in the distant past and are therefore unimportant to him – is used to emphasize the passion for the present that Camus decided the absurd hero should have. So it is not so much that Meursault is totally indifferent, he is just indifferent to things outside of the now.

Jean Sartre uses elements of existentialism in No exit to function as a metaphor for the hellish impact of war. Sartre employs imagery, allusion, and imprisonment in order to express the tragedies and complexities of living under Nazi occupation.