| Papers [1-4] of 4 | Search results on "HAMLETT KRAPP": |
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Hamlett and Krapp, 2002.
A comparison of themes in the plays "Hamlet" by William Shakespeare and "Krapp's Last Tape" by Samuel Beckett.
879 words (approx. 3.5 pages), 2 sources, MLA, AU$ 46.95
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Abstract
The paper shows how "Hamlet" by William Shakespeare and "Krapp's Last Tape" by Samuel Beckett are very different sorts of play, emerging from different theatrical traditions, but they have similar themes within the context of their time and in their own style. The paper discusses one theme which is addressed in both - the theme of order versus disorder. It shows how each play finds the main character facing a state of disorder and the desiere to restore order.
From the Paper
"It may be more difficult to see the conflict in a play like Beckett's Krapp's Last Tape, which has only one character, but conflict can also be developed within one character warring with himself or between the single character and the audience watching him or her. Conflict is inherent in the vocation of attitudes, ideas, characters, and situations, and it is not possible to have a drama without any of these elements and so it is impossible to have a drama without conflict. As noted, there is only one character on stage, though the voice of the same man from many years before might constitute a separate character, heard only on a tape recorder."
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"Krapp's Last Tape", 2008.
An analysis of Samuel Beckett's play "Krapp's Last Tape".
1,270 words (approx. 5.1 pages), 1 source, MLA, AU$ 63.95
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Abstract
This paper discusses how "Krapp's Last Tape" is a play about endings, about old age and memory. It looks at how, when analyzing what the protagonist, Krapp, perceives as the single most important incident in his life, and examining how this affected his character and the direction of his life, it is perhaps most important to ask how live events did not effect Krapp, or rather how Krapp allowed his life to remain at a standstill. It also examines how Krapp marks the passage of his years not by spending time with loved ones or moving forward, but listening to his own voice on tape. The character's life is like an endless loop, on a spool of recorded sound.
From the Paper
"The repetitive and static nature of Krapp's life finds its most potent metaphor in an encounter Krapp had with a woman on a barge. But rather than a long, lost love that has affected Krapp in a positive or negative way, this seems more like a relationship that never really deepened, and is only yet another thwarted possibility in a life that is a succession of thwarted possibilities. Krapp's haunting by many images from his past that fleetingly promised happiness are demonstrated by his obsessive listening to a tape recording of his own voice. The tape contains a journal entry from long ago, to which Krapp reacts, verbally and physically. Krapp cannot let go of the past, and even the past has few concrete memories of significance, he can only listen to his younger self's articulation of hopes that things will get better."
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Existentialism in "Krapp's Last Tape" and "First Love"., 2002.
Looks at these works by Samuel Beckett and the influence of existentialist thought on them.
1,400 words (approx. 5.6 pages), 4 sources, AU$ 77.95
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Abstract
This paper examines the impact of existentialism on Samuel Beckett's "Krapp's Last Tape" and "First Love". It takes the stand that Beckett's works were essentially existentialist and that consciously or unconsciously, his works were infused with the idea that things have no inherent meaning and that our fallacy is to perceive meaning in everything.
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Self in the Work of Samuel Beckett, 2000.
This essay concerns the existential quandaries that the characters of Irish playwright Samuel Beckett experience in his most famous work, "Waiting for Godot."
4,057 words (approx. 16.2 pages), 3 sources, MLA, AU$ 159.95
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Abstract
This essay begins creatively, but it is a formal essay. It is primarily an analysis of "Waiting for Godot," although it includes references to "Endgame" and "Krapp's Last Tape." The author argues that the characters in "Godot" ignore the possibilities inherent in suffering. Eastern religious writing, on the other hand, includes possibility as an existential option, whereas Beckett does not. This is the difference between the two "approaches," and the author is critical of Beckett for failing to acknowledge existential possibility as achieved through self-awareness.
From the Paper
"We find ourselves in some deeply existential quandary: a problem beyond inquiry or conclusion; a problem that extends into the void of time and space; that avoids the very title of "problem". We are confined to a box, in Endgame, we are on a dead tree stump off an abandoned road, in Godot, and we are on a bare stage with remnants of a former life or two, in Krapp's Last Tape. The resounding question is perhaps: where are we; and the resounding answer: we don't know. The resounding question is perhaps: who are we? The resounding answer is perhaps: "Je ne sais pas, monsieur (Esslin, 36)." And Mr. Beckett presents.... the universe. And Mr. Beckett presents...the human condition. And Mr. Beckett presents...existence. And Mr. Beckett presents..."
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