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.
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