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Beckett’s “Endgame” by Stutura’s Concepcion
Date Issued
2020
Publisher
Abstract
Robert Sturua accomplished his vision of Beckett’s two plays at the Rustaveli Theater in XXI century. Waiting for Godot was staged in 2002, and the premiere of Endgame took place at the end of February 2020.
Robert Sturua always begins his work with in-depth analysis, development, editing of a text. The Endgame has been implemented by the same principle and the director created the stage text. In the performance one may recognize phrases from the Book of Revelation, from Waiting for Godot, and sometimes the phrases of Sturua himself. Despite of changes, Sturua presented on the stage a deep, philosophically existential farce, morality play, and sometimes a carnival atmosphere. There are not so many such Beckett’s staging in the theater world by its meaning, form or structure.
While carrying out changes, Sturua retained the rhythm, musicality, and rhythmic sound of Beckett’s text. In the performance the same texts, the same actions are not repeated with the same frequency as in Beckett’s play. In Sturua’s performance the sense of destruction and the apocalypse is more tangible and frightening.
The “Endgame”, of course, is staged in Sturua’s theatrical language, stylistics, form. The theatrical language created by Sturua remains unique among the styles on the contemporary world theatre map. And in this play, there is a lot of findings in terms of the director’s theatrical language.
The director always starts working on the play with in-depth analysis and editing of the text. He also put “Endgame” on the same principle. He translated the play together with Nino Kantidze, created a stage text in which you can read the phrases from: St.Johns Revelation (Apocalypse), “Waiting for Godot”, and can directly recognize Sturua’s discourse. Despite the movement, additions, abbreviations of the phrases, Sturua presented a Beckettian in-depth, philosophically existentially-absurd farce, moralite, and even sometimes a carnival atmosphere on stage. There is not so much such a stagings of Beckett in the world theatre in terms of content, form and structure.
Along with the changes, Sturua retained the musical and rhythmic sound of Beckett’s text. The same phrases and the same action in the play are not repeated as often, as at Beckett’s. Sturua made the breathtaking, inexhaustible, uninterrupted sense of infinity more accentuated in his staging, and the feeling of the shaking, destroy, world apocalypse - even more apparent and horrible. It is noteworthy that, unlike the Beckettian finale, Sturuas ending is relatively “brighter” and “hopeful.”
The interpretation of Endgame by Robert Sturua is an apocalypse, the end of the world, a warning to humanity... And the form goes beyond morality play, carnivalism, interactivity, epic and non-epic, and even beyond the maestro’s theatrical language itself.
Robert Sturua always begins his work with in-depth analysis, development, editing of a text. The Endgame has been implemented by the same principle and the director created the stage text. In the performance one may recognize phrases from the Book of Revelation, from Waiting for Godot, and sometimes the phrases of Sturua himself. Despite of changes, Sturua presented on the stage a deep, philosophically existential farce, morality play, and sometimes a carnival atmosphere. There are not so many such Beckett’s staging in the theater world by its meaning, form or structure.
While carrying out changes, Sturua retained the rhythm, musicality, and rhythmic sound of Beckett’s text. In the performance the same texts, the same actions are not repeated with the same frequency as in Beckett’s play. In Sturua’s performance the sense of destruction and the apocalypse is more tangible and frightening.
The “Endgame”, of course, is staged in Sturua’s theatrical language, stylistics, form. The theatrical language created by Sturua remains unique among the styles on the contemporary world theatre map. And in this play, there is a lot of findings in terms of the director’s theatrical language.
The director always starts working on the play with in-depth analysis and editing of the text. He also put “Endgame” on the same principle. He translated the play together with Nino Kantidze, created a stage text in which you can read the phrases from: St.Johns Revelation (Apocalypse), “Waiting for Godot”, and can directly recognize Sturua’s discourse. Despite the movement, additions, abbreviations of the phrases, Sturua presented a Beckettian in-depth, philosophically existentially-absurd farce, moralite, and even sometimes a carnival atmosphere on stage. There is not so much such a stagings of Beckett in the world theatre in terms of content, form and structure.
Along with the changes, Sturua retained the musical and rhythmic sound of Beckett’s text. The same phrases and the same action in the play are not repeated as often, as at Beckett’s. Sturua made the breathtaking, inexhaustible, uninterrupted sense of infinity more accentuated in his staging, and the feeling of the shaking, destroy, world apocalypse - even more apparent and horrible. It is noteworthy that, unlike the Beckettian finale, Sturuas ending is relatively “brighter” and “hopeful.”
The interpretation of Endgame by Robert Sturua is an apocalypse, the end of the world, a warning to humanity... And the form goes beyond morality play, carnivalism, interactivity, epic and non-epic, and even beyond the maestro’s theatrical language itself.
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ბეკეტის „თამაშის დასასრულის“ სტურუასეული კონცეფცია
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