[ اللغة الانجليزية ] : l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|

[دمـدم]

الجزئيه اللي بين نيو كريتيسيزم و ريدر رسبونس مو معانا<<تقولكم ترا اعرف

في اي محاضره هذي ذكرتها

لان ثلاث المحاضرات الاخيره كنت غايبه

[يآحلآتي]

المشاركة الأصلية كتبت بواسطة angelica

طيب قالت اذا في تشويسز والا لا ؟

قالت الدكتوره انها ماحطت الاسئله عشان كذ1 ماحددت لنا نوعية الاسئله

[يآحلآتي]

المشاركة الأصلية كتبت بواسطة أخت أخوها

الثاني اسمه oscar wild ,,, هذا ؟

امثله شو .. مسرحيات ثانيه لهم ؟ ولا ايش..

مشكوره عزيزتي

والله ياحياتي ماذكر اسمه

الامثله يعني مسرحيه ثانيه تكتبينها بشكل مختصر
توافق النقطه اللي تتكلمين عنها

في الجزئيات اللي نزلتها من قبل في كذا مسرحيه كمثال

تقدرين تضيفين امثله غيرهم

[dready days]

عزمت جارتي ولا ذاكرت خخخخخخخخخخخخخخخ احس بتأنيب الضمير

[ms_butterfly]

الله يوفقكم يابنات الله يعينكم على الضغط حاسه فيكم العااااام انواع الضغط


ادعووووولي انجح ابي اتخرج

[ms.2012]

شطححححه سريعه عالفجر

أذكر صلاح كان يحط لنا سلك سماعة التليفون على أنه مكرونه >> جد بنات وشدخل أمه بالمنهج


يمقن يقصد الكونشس والساب كونشس

[J A M I L A H]

المشاركة الأصلية كتبت بواسطة مينولوبي كروز

الووو
بنات بليز مع منيره الازرقي وش بتذاكرون ,,,,,....?????


سمعت ان الاساله موحده مع اميمه

اي نعم الاسئله موحده , بس د.أميمه قالت لاتحاتون هالشغله اللي بيجيكم من اللي انتم ذاكرتوه


نقول ان شا الله .. وتوكلنا على الله

[E.M.H]

girls!!!

i am asking for the third time
i want the last lecture of civilization

[يآحلآتي]

مثل ماوعدتكم
هذا الستيج ديريكشن مع السيمبل بنفس الوقت
بس اذا بتتكلمون عن قودوت ع انه جزء من الستيج ديريكشن تتكلمون فقط عن غيابه

Samuel Beckett was born in Dublin in 1906. He befriended the famous Irish novelist James Joyce, and his first published work was an essay on Joyce. In 1951 and 1953, Beckett wrote his most famous novels, the trilogy Molloy, Malone Dies, and The Unnameable.

Waiting for Godot, Beckett's first play, was written originally in French in 1948 (Beckett subsequently translated the play into English himself). It premiered at a tiny theater in Paris in 1953. This play began Beckett's association with the Theatre of the Absurd, which influenced later playwrights like Harold Pinter and Tom Stoppard.
The most famous of Beckett's subsequent plays include Endgame (1958) and Krapp's Last Tape (1959). He also wrote several even more experimental plays, like Breath (1969), a thirty-second play. Beckett was awarded the Nobel Prize in 1969 and died in 1989 in Paris.

What is the use of stage direction in drama?
Stage directions in drama can include directions of what the characters gesticulations (body language), mimik (facial expresions) and tone of voice are like. In addition comments about their surroundings and when they enter and exit are made in stage directions.
They are to be taken as(not necissarily strickt) guidelines for the actors.
Stage directions in dramas typicaly function as a way of setting the mood (often symbols and strong immigary can be found in these). The stage direction in the play divided into many parts as:

All the characters in the play are male and they are supposed to represent human beings. There are no female figures in the play; the play is lacking in this. The relationship among the characters is essentially strained. Though they are friends they’re not in real friendship. There is instability, no continuity of generation; they are not increasing because no female appears on stage.When the two characters, Didi this stability speaks about the absence of regeneration and increase.

Estragon and Vladimir:
The major characters of the play Estragon and Vladimir are tramps and poor travelers seeking money or food. They are living a kind of difficult life; they are poor and their clothes are dirty. We see that the two characters Estragon and Vladimir, who are supposed to be close friends, are not really friends; their relation is meaningless. Religion also brings on fulfillment. They talk about religion, and we understand from their discussion that religion does not fulfill any kind of hope or satisfaction. The characters are symbolic because they represent us and what we are looking and waiting for, and how we are wasting our time in doing almost in the no place. Although we move and go from one angle into another, we are still in a state of immobility. The two characters Vladimir and Estragon are waiting for Godot. Godot is a symbol of the deliverer or the savior who never comes. Beckett’s preoccupation is to show that the movement and thoughts of the human being, in space and time, are unrelated to the reality of the universe. The little world of Estragon and Vladimir symbolizes individual societies, people everywhere all over the universe. The relation between the two characters that exist in the play is extended to encompass humanity everywhere. The characters find themselves involved in problems, beginning and ending with birth; from the time of their birth to the time of their death, life to them is a beginning of problems and an ending of problems. Vladimir has problem with urination. Estragon keeps his boots always on and he doesn’t take them off every day. That’s why his feet are swollen and this shows to us some diseases of that time.

The Carrot:
Carrots and turnips are in one sense just a gag reel for Vladimir and Estragon’s comic bits. But we were interested in their disagreement over the vegetable: "Funny," Estragon comments as he munches, "the more you eat, the worse it gets." Vladimir quickly disagrees, adding that, for him, it’s "just the opposite." On the one hand, this could be a completely meaningless conversation – the point is simply that Vladimir is in disagreement, playing at opposites, adding to the bickering duality between himself and Gogo.

On the other hand, the carrot could be about the meaning of life. Exclamation point! OK, so the carrot probably isn’t about the meaning of life. But it could be a hint as to the differences between the way Vladimir and Estragon live their lives. Vladimir’s subsequent comment, an addendum to his carrot claim, is that he "get[s] used to the muck as [he goes] along." He resigns himself to banality.

The Hats, the Boots, and the Vaporizer:

There seems to be no shortage of inane props in Waiting for Godot, and these three have one thing in common: they are all absurd objects on which the men have developed irrational dependences. Lucky cannot think without his bowler. Pozzo needs his vaporizer to speak. Estragon seems condemned to forever take his boots on and off, as does Vladimir with his hat. This is another great combination of the tragic and the comic; the situation is hilarious for its absurdity, but dismal at the same time.

ESTRAGON:

Mine were black. These arebrown.

VLADIMIR:

You're sure yours wereblack?

ESTRAGON: Well they were a kind ofgray.

VLADIMIR:

And these are brown. Show me

The different colors of theboots tell us that there is no certainty about the silly affairs of life.

The relationship between Pozzo and Lucky:
This relationship exemplifies the mystery of the human existence because Lucky is used as a dog or an animal tied with a rope around his neck. We see him asking for mercy and Pozzo is a tyrannical master; he is terrorizing, horrifying and abusing Lucky. So we see the tears of Lucky coming down and Pozzo doesn’t really care. So, Lucky and Pozzo, both of them are parallel of human misery; they represent the tyrannical leaders and the people they exploit and terrorize (Lucky). Notice that Lucky’s name issymbolic and it also implies some kind of paradox because he is not lucky atall.
The characters in the play are dirty, ugly, they have no good relations, they have no friendship, no love. As said regarding the character of Lucky, he is happy be treated like a slave. When Lucky takes off his hat and hishair shows on his face, whereas Pozzo takes off his hat and he shows his headextremely bald. This means that tyranny has been there in the world for so long. Also, Lucky having white hair means that he has been tortured also for so long.This show the huge gap between classes at that time. The four characters are representative of mankind; they have contrasting personalities. As their names imply, Estragon is French, Vladimir is Russian, and Pozzo is Italian, and Lucky is English.

THE REPETITION:
The play is a symbol of modern Man’s suffering an extended process of waiting. Everything in the play is repetitive in a very boring way; it takes its own routine. That’s why the process of waiting is suffering; because they are waiting for something that will never come. It is about the parable of Modern Man’s existence. The setting of the two acts is the same place. The time of both acts is the same time of day. The second act is simply a repetition of what was presented in the first act. Estragon and Vladimir are using a limited number of words and they keep on repeating them. The audiences expect the characters to be back tomorrow to give them a reality, already known before. Notice the repetition in theirmovements: Vladimir is playing with his hat, Estragon is playing with his boots, and Pozzo is also using the vaporizer while he is speaking.There are so many statements repeated in the play as “Nothing to be done”. The first thing Estragon says is Nothing to be done. We understand that the playwright believes that nothing can be done to change the situation of humanity today. The second one is “We got rid of them”. Estragon is repeating the statement for almost the third time now that they are not tied to any power; they are not tied to Godot. The third one is:

Next day. Same time.

Same place.

Estragon's boots front center, heels together, toessplayed.

Lucky's hat at same place.

The tree has four or fiveleaves.

The repetition again does notreveal any truth because they’re not really happy.


The almost nakedness of Estragon:
Estragon tears off his boots, and later on he takes off his trousers. This nakedness of Estragon at the end of the play is suggestive of Man’s condition. Man here is becoming naked; everything in him is open, seen, displayed and unclosed. Man is becoming a lonely creature, and it is lack of clothing that shows his spiritual condition of emptiness. Beckett strips away Man’s pretensions to examine the person’s real life; he takes off all of the appearances in order to see the reality of Man. There is nothing for the individual to hide behind; Man is seen almost naked, in order to get into his true self. So, the characters physical disabilities reflect their internal disability, which is psychological and spiritual. So, spiritually they are lacking, their physical relationship is disturbed, and this reflects their psychological state of mind; the characters are psychologically disturbed and they are incomplete so they are reduced to crawling beggars who do not have any rights whatsoever.

GODOT:
The word ‘Godot’ symbolizes god, the savior, or the deliverer; it could be death, god, money or anything. Godot is a name that cannot be defined or conceived. Beckett’s ideas are implicit in Godot. Godot sends words by the boy to Didi and Gogo. The boy tells Gogo and Didi that Godot is not coming so they should wait for him. But Beckett accepts hope outside reason. According to Beckett, God is that being whose non-existence is the only conceivable evidence of his existence. The non-existence of God in time and place is the assurance of his own existence. Estragon thought that Pozzo is Godot because Pozzois ordering and driving Lucky, and Lucky is treated like an animal. He noticedthat Pozzo has some kind of authority and that’s why he has mistaken him to beGodot.

VLADIMIR:

Well you see—

POZZO:

(peremptory). Who is Godot?

ESTRAGON:

Godot?

POZZO:

You took me for Godot.

VLADIMIR:

Oh no, Sir, not for an instant, Sir.

POZZO:

Who is he?

VLADIMIR:

Oh he's a . . . he's a kind of acquaintance.

This shows to us that they don’t have a clear idea about God, or Godot their savior. . They have no clear religion or faith. Vladimir tells Estragon that Godot did not say for sure that he will come; they are not even sure that even if he comes he is going to save them or do anything for them. Since Godot never arrives in the play nothing else is discovered about him; he remains an extremely vague character. Vladimir despairs to learn Godot has a white beard because this is a sign of old age, which means Godot is not going to do anything for them because he is incapable of doing anything.

THE BOY:

VLADIMIR:

And why doesn't he beat you?

BOY:

I don't know, Sir.

VLADIMIR:

He must be fond of you.

BOY:

I don't know, Sir.

The boy doesn't’ know anything. The boy here symbolizes the new generation, which, according toBeckett, doesn’t know a thing.

The tree:

The tree represents the cross on which Jesus was crucified for the sake of humanity; it’s a naked wooden tree with a trunk and many branches. It’s a symbol of hope. When they look at the tree and they see that it’s gaining leaves they say how come because the tree had no leaves a day ago. They were not sure of what was happening; they don’t know if a season had passed, an hour or a day. This tree represents of a feeble light of hope. The cross is not actually a symbol of despair, rather it is a symbol of victory. Although Jesus was terrorized and crucified on the cross, the cross still represents a kind of victory and hope, because in the Christian theology, Jesus was crucified for the sake of delivering humanity. This is confirmed by the fact that they see the tree to have grown leaves in the second act. The characters do not recognize the awful condition of the tree; it is a symbol of their awful condition. Therefore the tree becomes a symbol of the irrelevance of the Christian predicament. The situation in the play does not show any kind of triumph or salvation because the characters do not recognize it. It is as if the playwright is saying that some kind of salvation some day is going to fall upon humanity and then Man will be saved. The tree is useless to them because they cannot hide behind it as has very few leaves, and they cannot even hang themselves on the tree because the branches are weak.

Time:

We notice that the confusion of the characters over time and place is indicative of their confusion over life itself; they do not know what is going to happen. Vladimir and Estragon invent innumerable little games in order to pass time. These games that they are playing symbolize all the hardships and problems in which we spend our time. They are fighting boredom because they are waiting for nothing. Time is boring and dull to them because everything is repeated.

Nightfall and the Rising Moon:

While Vladimir and Estragon wait for Godot, they also wait for nightfall. For some reason (again, arbitrary and uncertain), they don’t have to wait for him once the night has fallen. The classic interpretation is that night = dark = death. The falling of night is as much a reprieve from daily suffering as death is from the suffering of a lifetime.

There’s also the issue of the moon, as its appearance in the sky is the real signal that night has come and the men can stop waiting for Godot. Estragon, in one of his "wicked smart" moments, comments the moon is "pale for weariness […] of climbing heaven and gazing on the likes of us." Though the man remembers nothing of yesterday, he does in this moment seem to comprehend the endless repetition of his life. And if the moon is weary just from watching, imagine what that says about the predicament of the men themselves.

The pantomime:
The pantomime is a metaphor of the life of human beings. They move on the stage and acting without words, without saying a thing. This silent acting is like a circus or a musical. This represents life itself; people are talking, moving and acting silently. Even when they talk their words are meaningless. So they do most of their actions in gesture, silently. A circus or a musical is a symbol of life itself. So we have here simple men who are like clowns and comedians; from the tragedy of life such comic actions arise. For them, life will always move but slowly and miserably. For example, lucky is moving as if he were an animal. Pozzo whips Lucky when he tries to be slow or disobedient. The other example is that Pozzo has been walking for six hours and hadn’t seen anyone. All the movements of Pozzo, Lucky, Vladimir and Estragon are a kind of pantomime because they are movements without speech.

Vladimir's Song that Never Ends:

Vladimir is singing for Estragon in order to put him to sleep. Vladimir’s song in Act II holds a hint of danger that they are living in. But Beckett never allows us to forget that his characters are also actors, and that they will be back again tomorrow repeating their actions; and after tomorrow, exactly as before.

Lucky's Dance:

When Lucky is commanded to dance in Act I, Pozzo reveals that he calls his dance "The Net," adding, "He thinks he’s entangled in a net." You would think a guy tied up on a rope leash would feel confined enough. Of course, the image of Lucky writhing in an imaginary net is a lasting image for the play as a whole, and especially for the plight of Vladimir and Estragon, who, as we’ve said before, are confined in a prison – or perhaps a net – of their own imaginations.

[Lost 3]

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مآبي اذاكر الستيج دآيركشن مآششرحححته سميرهـ