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There is generally just the bare minimum of characters required to enable a dialogue. The premise of most of even the full-length Beckett plays is simple. Many of them are almost like thoughts or sketches for dramas, hence the word dramaticules which is often used about them. That’s why the Beckett on Film project was so very useful, because it allows us all to see stagings of ‘dramas’ which are so brief or fragmentary that they might never be staged in a theatre in our lifetimes. From that point onwards, for the next 23 years, Beckett’s plays become progressively shorter and can only be staged in an evening of such fragments, as additions to the other plays. The last evening-length drama he produced was Happy Days in 1961. The great majority of Beckett’s plays are short, often very short.Ģ. Only a surprisingly small handful of Beckett plays amount to anything like an evening in the theatre, and that’s why they’re the ones we’ve heard about. Obviously, performance times can vary quite a bit from production to production, so these figures are the opposite of definitive, they are merely indicative, but the result tends to show two things:ġ. … but the clouds … (1977) (Television play) Playīeginning to End (1965) (Television production) To verify this assertion I made this table based, in a very rough and ready way, on the duration of the plays as filmed for the Beckett On Film project (indicated by an asterisk) or according to the durations of the most popular recordings on YouTube.
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Beckett wrote a lot of plays, 19 of them according to the Beckett On Film project, more than 30 if you include the seven plays for radio and the various fragments and dramaticules.īut only a handful of them are ‘full length’ enough to sustain an evening at the theatre, being: Waiting For Godot (1953), Endgame (1958), Krapp’s Last Tape (1958) and Happy Days (1961).