20.500.12556/RUL-130284 Vloga prostora v Beckettovi dramatiki The role of space in Beckett's plays Diplomsko delo obravnava vlogo prostora v dramatiki Samuela Becketta, in sicer v treh dramah, ki jih je napisal v različnih obdobjih svojega ustvarjanja. Za Beckettovo poetiko sta značilni redukcija in dekonstrukcija jezika, sintaktičnih struktur, odrskih figur in prostora. Še posebej slednjemu se naloga posveča v analizi dram Čakajoč Godota, O, krasni dnevi in drami Quad (I in II). Beckett je skozi ves svoj opus stremel k redukciji na nič. Želel si je doseči občutek praznine na odru, to pa je v različnih obdobjih ustvarjanja dosegel na različne načine. Ker sta dramska oseba in prostor med seboj na odru povezana, le-ta soustvarja odrski prostor, kar je pri Beckettu zelo pomembno, saj se skozi notranjo prazino in nesmiselnost obstoja Beckettovih figur ustvarja tudi občutek odrske praznine. V Čakajoč Godota se praznina kaže v nesmiselnosti in absurdnosti čakanja Vladimirja in Estragona, v O, krasni dnevi z Winniejino negibnostjo in fragmentiranim monologom, v Quad pa s popolno redukcijo figure, jezika in prostora, ki se v nič osredotoči v točki izogiba E. This undergraduate thesis researches the role of space in the plays of Samuel Beckett, specifically in three plays written in different periods of his career. The inclination to reduce and deconstruct language, syntactic structures, stage figures and space is characteristic of Beckett's poetics. I will devote a large part of my thesis to the latter with my analysis of the plays Waiting for Godot, Happy Days and Quad (I and II). Throughout his opus, Beckett sought to achieve the effect of nothingness. He aimed to create a sense of void on stage, which he accomplished in various ways in different periods of his artistic formation. As the figure and space on the stage are interconnected, the figure co-creates the space, which is of utmost importance for Beckett. Through the inner emptiness and meaninglessness of existence of Beckett's figures, it also creates a feeling of emptiness on stage. In Waiting for Godot, emptiness manifests itself in the absurdity of Vladimir and Estragon's act of waiting, in Happy Days with Winnie's stillness and fragmented monologue, and in Quad with the complete reduction of the figure, language and space, which concentrates to nothing in the so-called »danger zone« E. irska dramatika Samuel Beckett: Čakajoč Godota O krasni dnevi Quad (I in II) odrski prostor Irish drama Samuel Beckett: Waiting for Godot Happy Days Quad (I and II) theatrical space true false false Slovenski jezik Angleški jezik Diplomsko delo/naloga 2021-09-13 07:15:31 2021-09-13 07:15:37 2022-09-09 04:15:42 0000-00-00 00:00:00 2021 0 0 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 1970-01-01 480768 10813.pdf 10813.pdf 1 46E3CA47580D829330A0B29FF5A6A1FC cfa193a9a637e4464cd0f197230936c514c33356f44e3f44eb4119052723f26e 60acebe5-1451-11ec-a523-00155dcfd717 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=147352 Filozofska fakulteta 0 0 0