Beckett vs Satre
Compare and contrast Sartre’s No Exit with Beckett’s Waiting for Godot.
Samuel Beckett’s vision of two lowly tramps in the middle of a derelict environment can be placed in direct contrast to the claustrophobic and eternal nightmare presented by Jean-Paul Sartre , but each playwright possessed objectives for their respective audiences and each shared a valued opinion on the theories of existentialism which can be established in the plays Waiting for Godot and No Exit. Beckett introduces the audience into a world of questioning and surrealist virtues and encourages the spectator to actually discuss the play and find the answer within. Sartre, however, presents his play as a placard for the virtues of existentialism and attempts to prove that “hell is other people”. When being asked about the sources for his ideas or advocating him as a pioneer for the Theatre of the Absurd, Beckett’s replies were often curt or dismissive. The Theatre of the Absurd was a term conceived by the critic Martin Esslin to describe the various playwrights who gave their artistic interpretations believing that human existence is futile and without meaning. According to Beckett himself the Theatre of the Absurd was too ‘judgemental’, too self-assuredly pessimistic: I have never accepted the notion of a theatre of the absurd, a concept that implies a judgement of value. It’s not even possible to talk about truth. That’s the part of the anguish.
Sartre, however made his existentialist philosophies quite apparent. With his own theories he collaborated with the Dadaists and Surrealists after the Second World War and achieved to create his own ‘humanist’ way of thinking but with a prominent atheistic outlook. Sartre quoted rather proudly “L’homme est condamne a etre libre…l’homme est liberte.” Loosely translated he proclaims that “Man is condemned to be free…man is freedom.” Sartre firmly believed that man is nothing except his life and that consequently he is fully responsible for
Samuel Beckett’s vision of two lowly tramps in the middle of a derelict environment can be placed in direct contrast to the claustrophobic and eternal nightmare presented by Jean-Paul Sartre , but each playwright possessed objectives for their respective audiences and each shared a valued opinion on the theories of existentialism which can be established in the plays Waiting for Godot and No Exit. Beckett introduces the audience into a world of questioning and surrealist virtues and encourages the spectator to actually discuss the play and find the answer within. Sartre, however, presents his play as a placard for the virtues of existentialism and attempts to prove that “hell is other people”. When being asked about the sources for his ideas or advocating him as a pioneer for the Theatre of the Absurd, Beckett’s replies were often curt or dismissive. The Theatre of the Absurd was a term conceived by the critic Martin Esslin to describe the various playwrights who gave their artistic interpretations believing that human existence is futile and without meaning. According to Beckett himself the Theatre of the Absurd was too ‘judgemental’, too self-assuredly pessimistic: I have never accepted the notion of a theatre of the absurd, a concept that implies a judgement of value. It’s not even possible to talk about truth. That’s the part of the anguish.
Sartre, however made his existentialist philosophies quite apparent. With his own theories he collaborated with the Dadaists and Surrealists after the Second World War and achieved to create his own ‘humanist’ way of thinking but with a prominent atheistic outlook. Sartre quoted rather proudly “L’homme est condamne a etre libre…l’homme est liberte.” Loosely translated he proclaims that “Man is condemned to be free…man is freedom.” Sartre firmly believed that man is nothing except his life and that consequently he is fully responsible for