He takes up small cube, puts it on big one, tests their stability, gets up on them and is about to reach carafe when it is pulled up a little way and comes to rest beyond his reach.
He gets down, reflects, carries cubes back to their place, one by one, turns aside, reflects.
A third still smaller cube descends from flies, lands.
He continues to reflect.
Whistle from above.
He turns, sees third cube, looks at it, reflects, turns aside, reflects.
The third cube is pulled up and disappears in flies.
Beside carafe a rope descends from flies, with knots to facilitate ascent.
He continues to reflect.
Whistle from above.
He turns, sees rope, reflects, goes to it, climbs up it and is about to reach carafe when rope is let out and deposits him back on ground.
He reflects, looks around for scissors, sees them, goes and picks them up, returns to rope and starts to cut it with scissors.
The rope is pulled up, lifts him off ground, he hangs on, succeeds in cutting rope, falls back on ground, drops scissors, gets up again immediately, brushes himself, reflects.
The rope is pulled up quickly and disappears in flies.
With length of rope in his possession he makes a lasso with which he tries to lasso the carafe.
The carafe is pulled up quickly and disappears in flies.
He turns aside, reflects.
He goes with lasso in his hand to tree, looks at bough, turns and looks at cubes, looks again at bough, drops lasso, goes to cubes, takes up small one, carries it over and sets it down under bough, goes back for big one, takes it up and carries it over under bough, makes to put it on small one, hesitates, thinks better of it, sets it down, takes up small one and puts it on big one, tests their stability, turns aside and stoops to pick up lasso.
The bough folds down against trunk.
He straightens up with lasso in his hand, turns and sees what has happened.
He drops lasso, turns aside, reflects.
He carries back cubes to their place, one by one, goes back for lasso, carries it over to the cubes and lays it in a neat coil on small one.
He turns aside, reflects.
Whistle from right wing.
He reflects, goes out right.
Immediately flung back on stage he falls, gets up immediately, brushes himself, turns aside, reflects.
Whistle from left wing.
He does not move.
He looks at his hands, looks round for scissors, sees them, goes and picks them up, starts to trim his nails, stops, reflects, runs his finger along blade of scissors, goes and lays them on small cube, turns aside, opens his collar, frees his neck and fingers it.
The small cube is pulled up and disappears in flies, carrying away rope and scissors.
He turns to take scissors, sees what has happened.
He turns aside, reflects.
He goes and sits down on big cube.
The big cube is pulled from under him. He falls. The big cube is pulled up and disappears in flies.
He remains lying on his side, his face towards auditorium, staring before him.
The carafe descends from flies and comes to rest a few feet from his body.
He does not move.
Whistle from above.
He does not move.
The carafe descends further, dangles and plays about his face.
He does not move.
The carafe is pulled up and disappears in flies.
The bough returns to horizontal, the palms open, the shadow returns.
Whistle from above.
He does not move.
The tree is pulled up and disappears in flies.
He looks at his hands.
CURTAIN
Act Without Words II
A mime for two players
Written, according to Beckett, at about the same time as Act Without Words I (1956). Translated from the French by the author and first published in New Departures, vol. 1 (Summer, 1959). First performed probably at the Institute of Contemporary Arts, London, on 25 January 1960.
NOTE
This mime should be played on a low and narrow platform at back of stage, violently lit in its entire length, the rest of the stage being in darkness. Frieze effect.
A is slow, awkward (gags dressing and undressing), absent. B brisk, rapid, precise. The two actions therefore, though B has more to do than A, should have approximately the same duration.
ARGUMENT
Beside each other on ground, two yards from right wing, two sacks, A’s and B’s, A’s being to right (as seen from auditorium) of B’s, i.e. nearer right wing. On ground beside sack B a little pile of clothes (C) neatly folded (coat and trousers surmounted by boots and hat).
Enter goad right, strictly horizontal. The point stops a foot short of sack A. Pause. The point draws back, pauses, darts forward into sack, withdraws, recoils to a foot short of sack. Pause. The sack does not move. The point draws back again, a little further than before, pauses, darts forward again into sack, withdraws, recoils to a foot short of sack. Pause. The sack moves. Exit goad.
A, wearing shirt, crawls out of sack, halts, broods, prays, broods, gets to his feet, broods, takes a little bottle of pills from his shirt pocket, broods, swallows a pill, puts bottle back, broods, goes to clothes, broods, puts on clothes, broods, takes a large partly-eaten carrot from coat pocket, bites off a piece, chews an instant, spits it out with disgust, puts carrot back, broods, picks up two sacks, carries them bowed and staggering half-way to left wing, sets them down, broods, takes off clothes (except shirt), lets them fall in an untidy heap, broods, takes another pill, broods, kneels, prays, crawls into sack and lies still, sack A being now to left of sack B.
Pause.
Enter goad right on wheeled support (one wheel). The point stops a foot short of sack B. Pause. The point draws back, pauses, darts forward into sack, withdraws, recoils to a foot short of sack. Pause. The sack moves. Exit goad.
B, wearing shirt, crawls out of sack, gets to his feet, takes from shirt pocket and consults a large watch, puts watch back, does exercises, consults watch, takes a tooth brush from shirt pocket and brushes teeth vigorously, puts brush back, rubs scalp vigorously, takes a comb from shirt pocket and combs hair, puts comb back, consults watch, goes to clothes, puts them on, consults watch, takes a brush from coat pocket and brushes clothes vigorously, brushes hair vigorously, puts brush back, takes a little mirror from coat pocket and inspects appearance, puts mirror back, takes carrot from coat pocket, bites off a piece, chews and swallows with appetite, puts carrot back, consults watch, takes a map from coat pocket and consults it, puts map back, consults watch, takes a compass from coat pocket and consults it, puts compass back, consults watch, picks up two sacks and carries them bowed and staggering to two yards short of left wing, sets them down, consults watch, takes off clothes (except shirt), folds them in a neat pile, consults watch, does exercises, consults watch, rubs scalp, combs hair, brushes teeth, consults and winds watch, crawls into sack and lies still, sack B being now to left of sack A as originally.
Pause.
Enter goad right on wheeled support (two wheels). The point stops a foot short of sack A. Pause. The point draws back, pauses, darts forward into sack, withdraws, recoils to a foot short of sack. Pause. The sack does not move. The point draws back again, a little further than before, pauses, darts forward again into sack, withdraws, recoils to a foot short of sack. Pause. The sack moves. Exit goad.
A crawls out of sack, halts, broods, prays.
CURTAIN
Krapp’s Last Tape
Written in English in early 1958. First published in Evergreen Review (Summer 1958). First performed at the Royal Court Theatre, London, on 28 October 1958.
A late evening in the future.
KRAPP’S den.
Front centre a small table, the two drawers of which open towards the audience.
Sitting at the tabl
e, facing front, i.e. across from the drawers, a wearish old man: KRAPP.
Rusty black narrow trousers too short for him. Rusty black sleeveless waistcoat, four capacious pockets. Heavy silver watch and chain. Grimy white shirt open at neck, no collar. Surprising pair of dirty white boots, size ten at least, very narrow and pointed.
White face. Purple nose. Disordered grey hair. Unshaven.
Very near-sighted (but unspectacled). Hard of hearing.
Cracked voice. Distinctive intonation.
Laborious walk.
On the table a tape-recorder with microphone and a number of cardboard boxes containing reels of recorded tapes.
Table and immediately adjacent area in strong white light. Rest of stage in darkness.
KRAPP remains a moment motionless, heaves a great sigh, looks at his watch, fumbles in his pockets, takes out an envelope, puts it back, fumbles, takes out a small bunch of keys, raises it to his eyes, chooses a key, gets up and moves to front of table. He stoops, unlocks first drawer, peers into it, feels about inside it, takes out a reel of tape, peers at it, puts it back, locks drawer, unlocks second drawer, peers into it, feels about inside it, takes out a large banana, peers at it, locks drawer, puts keys back in his pocket. He turns, advances to edge of stage, halts, strokes banana, peels it, drops skin at his feet, puts end of banana in his mouth and remains motionless, staring vacuously before him. Finally he bites off the end, turns aside and begins pacing to and fro at edge of stage, in the light, i.e. not more than four or five paces either way, meditatively eating banana. He treads on skin, slips, nearly falls, recovers himself, stoops and peers at skin and finally pushes it, still stooping, with his foot over edge of stage into pit. He resumes his pacing, finishes banana, returns to table, sits down, remains a moment motionless, heaves a great sigh, takes keys from his pockets, raises them to his eyes, chooses key, gets up and moves to front of table, unlocks second drawer, takes out a second large banana, peers at it, locks drawer, puts back keys in his pocket, turns, advances to edge of stage, halts, strokes banana, peels it, tosses skin into pit, puts end of banana in his mouth and remains motionless, staring vacuously before him. Finally he has an idea, puts banana in his waistcoat pocket, the end emerging, and goes with all the speed he can muster backstage into darkness. Ten seconds. Loud pop of cork. Fifteen seconds. He comes back into light carrying an old ledger and sits down at table. He lays ledger on table, wipes his mouth, wipes his hands on the front of his waistcoat, brings them smartly together and rubs them.
KRAPP: [Briskly.] Ah! [He bends over ledger, turns the pages, finds the entry he wants, reads.] Box … thrree … spool … five. [He raises his head and stares front. With relish.] Spool! [Pause.] Spooool! [Happy smile. Pause. He bends over table, starts peering and poking at the boxes.] Box … thrree … thrree … four … two … [with surprise] nine! good God! … seven … ah! the little rascal! [He takes up box, peers at it.] Box thrree. [He lays it on table, opens it and peers at spools inside.] Spool … [he peers at ledger] … five … [he peers at spools] … five … five … ah! the little scoundrel! [He takes out a spool, peers at it.] Spool five. [He lays it on table, closes box three, puts it back with the others, takes up the spool] Box thrree, spool five. [He bends over the machine, looks up. With relish.] Spooool! [Happy smile. He bends, loads spool on machine, rubs his hands.] Ah! [He peers at ledger, reads entry at foot of page.] Mother at rest at last…. Hm…. The black ball…. [He raises his head, stares blankly front. Puzzled.] Black ball? … [He peers again at ledger, reads.] The dark nurse…. [He raises his head, broods, peers again at ledger, reads.] Slight improvement in bowel condition. … Hm…. Memorable…. what? [He peers closer.] Equinox, memorable equinox. [He raises his head, stares blankly front. Puzzled.] Memorable equinox? … [Pause. He shrugs his shoulders, peers again at ledger, reads.] Farewell to–[he turns page]–love.
[He raises his head, broods, bends over machine, switches on and assumes listening posture, i.e. leaning forward, elbows on table, hand cupping ear towards machine, face front.]
TAPE: [Strong voice, rather pompous, clearly Krapp’s at a much earlier time.] Thirty-nine today, sound as a–[Settling himself more comfortably he knocks one of the boxes off the table, curses, switches off sweeps boxes and ledger violently to the ground, winds tape back to beginning, switches on, resumes posture.] Thirty-nine today, sound as a bell, apart from my old weakness, and intellectually I have now every reason to suspect at the… [hesitates] … crest of the wave–or thereabouts. Celebrated the awful occasion, as in recent years, quietly at the Wine-house. Not a soul. Sat before the fire with closed eyes, separating the grain from the husks. Jotted down a few notes, on the back of an envelope. Good to be back in my den, in my old rags. Have just eaten I regret to say three bananas and only with difficulty refrained from a fourth. Fatal things for a man with my condition. [Vehemently.] Cut’em out! [Pause.] The new light above my table is a great improvement. With all this darkness round me I feel less alone. [Pause] In a way. [Pause.] I love to get up and move about in it, then back here to … [hesitates] … me. [Pause.] Krapp.
[Pause.]
The grain, now what I wonder do I mean by that, I mean … [hesitates] … I suppose I mean those things worth having when all the dust has–when all my dust has settled. I close my eyes and try and imagine them.
[Pause. KRAPP closes his eyes briefly.]
Extraordinary silence this evening, I strain my ears and do not hear a sound. Old Miss McGlome always sings at this hour. But not tonight. Songs of her girlhood, she says. Hard to think of her as a girl. Wonderful woman though. Connaught, I fancy. [Pause.] Shall I sing when I am her age, if I ever am? No. [Pause.] Did I sing as a boy? No. [Pause.] Did I ever sing? No.
[Pause.]
Just been listening to an old year, passages at random. I did not check in the book, but it must be at least ten or twelve years ago. At that time I think I was still living on and off with Bianca in Kedar Street. Well out of that, Jesus yes! Hopeless business. [Pause.] Not much about her, apart from a tribute to her eyes. Very warm. I suddenly saw them again. [Pause.] Incomparable! [Pause.] Ah well…. [Pause.] These old P.M.s are gruesome, but I often find them–[KRAPP switches off, broods, switches on.]–a help before embarking on a new … [hesitates] … retrospect. Hard to believe I was ever that young whelp. The voice! Jesus! And the aspirations! [Brief laugh in which KRAPP joins.] And the resolutions! [Brief laugh in which KRAPP joins.] To drink less, in particular. [Brief laugh of KRAPP alone.] Statistics. Seventeen hundred hours, out of the preceding eight thousand odd, consumed on licensed premises alone. More than 20 per cent, say 40 per cent of his waking life. [Pause.] Plans for a less … [hesitates] … engrossing sexual life. Last illness of his father. Flagging pursuit of happiness. Unattainable laxation. Sneers at what he calls his youth and thanks to God that it’s over. [Pause.] False ring there. [Pause.] Shadows of the opus … magnum. Closing with a–[brief laugh]–yelp to Providence. [Prolonged laugh in which KRAPP joins.] What remains of all that misery? A girl in a shabby green coat, on a railway-station platform? No?
[Pause.]
When I look–
[KRAPP switches off, broods, looks at his watch, gets up,goes backstage into darkness. Ten seconds. Pop of cork. Ten seconds. Second cork. Ten seconds. Third cork. Ten seconds. Brief burst of quavering song.]
KRAPP: [Sings.]
Now the day is over,
Night is drawing nigh-igh,
Shadows–
[Fit of coughing. He comes back into light, sits down, wipes his mouth, switches on, resumes his listening posture.]
TAPE: –back on the year that is gone, with what I hope is perhaps a glint of the old eye to come, there is of course the house on the canal where mother lay a-dying, in the late autumn, after her long viduity [KRAPP gives a start] and the–[KRAPP switches off, winds back tape a little, bends his ear closer to machine, switches on]–a-dying, after her long viduity, and the–
[KRAPP switches off, raises his head, stares blankly
before him. His lips move in the syllables of ‘viduity’. No sound. He gets up, goes backstage into darkness, comes back with an enormous dictionary, lays it on table, sits down and looks up the word.]
KRAPP: [Reading from dictionary.] State–or condition–of being–or remaining–a widow–or widower. [Looks up. Puzzled.] Being–or remaining? … [Pause. He peers again at dictionary. Reading.] ‘Deep weeds of viduity.’ … Also of an animal, especially a bird … the vidua or weaver-bird…. Black plumage of male…. [He looks up. With relish.] The vidua-bird!
[Pause. He closes dictionary, switches on, resumes listening posture.]
TAPE: –bench by the weir from where I could see her window. There I sat, in the biting wind, wishing she were gone. [Pause.] Hardly a soul, just a few regulars, nursemaids, infants, old men, dogs. I got to know them quite well–oh by appearance of course I mean! One dark young beauty I recollect particularly, all white and starch, incomparable bosom, with a big black hooded perambulator, most funereal thing. Whenever I looked in her direction she had her eyes on me. And yet when I was bold enough to speak to her–not having been introduced–she threatened to call a policeman. As if I had designs on her virtue! [Laugh. Pause.] The face she had! The eyes! Like… [hesitates] … chrysolite! [Pause.] Ah well…. [Pause.] I was there when–[KRAPP switches off, broods, switches on again.]–the blind went down, one of those dirty brown roller affairs, throwing a ball for a little white dog as chance would have it. I happened to look up and there it was. All over and done with, at last. I sat on for a few moments with the ball in my hand and the dog yelping and pawing at me. [Pause.] Moments. Her moments, my moments. [Pause.] The dog’s moments. [Pause.] In the end I held it out to him and he took it in his mouth, gently, gently. A small, old, black, hard, solid rubber ball. [Pause.] I shall feel it, in my hand, until my dying day. [Pause.] I might have kept it. [Pause.] But I gave it to the dog.
The Complete Dramatic Works Page 19
