Abstract
The première production of Endgame, in its original French version as Fin de partie, took place in London at the Royal Court Theatre in April 1957 with Roger Blin and Jean Martin, Godot’s Pozzo and Lucky, playing Hamm and Clov. Despite the success of Godot, Blin had been unable to locate a theatre in Paris willing to risk a production of Beckett’s new play.1 That local inhospitality explains the peculiar event of a play in French being given its initial production in an English-speaking theatre in London. At the end of the month, however, the production moved into the small Studio des Champs Élysées. Les Editions de Minuit published the text shortly before its first production, as they did with Godot.2 Beckett’s translation, Endgame, was published in 1958, and the first production of the English text took place under Alan Schneider’s direction at the Cherry Lane Theatre in New York on 28 January 1958.3 In October the play returned to the Royal Court in its English translation, this time directed by George Devine who, like Blin, also played Hamm.
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References
John Fletcher and John Spurling, Beckett: A Study of His Plays (New York: Hill & Wang, 1972) p. 132.
Samuel Beckett, Fin de partie (Paris: Les Editions de Minuit, 1957).
Samuel Beckett, Endgame (New York: Grove Press, 1958). All citations from the play will be taken from this edition and not noted individually.
Ruby Cohn, Just Play; Beckett’s Theater (Princeton University Press, 1980) p. 174.
See Richard L. Admussen, The Samuel Beckett Manuscripts: A Study (Boston: G. K. Hall, 1979) for a description of the manuscripts. Several years ago I made a detailed study of the material held by the Ohio State University Library, and my analysis of Beckett’s work with the text builds upon that study. I have not seen the Reading manuscript and depend here upon Ruby Cohn’s well-pointed description.
In the French text Beckett uses finir for Clov’s opening speech and casser for Hamm’s version. The parallel structure is obvious in the French text but not as striking as in the English translation.
Charles R. Lyons, ‘Beckett’s Endgame: An Anti-Myth of Creation’, Modern Drama, 7 (Fall, 1964) pp. 204–9.
Molloy, p. 32.
I refer to the typescript of Beckett’s translation of Fin de partie into English held at the Ohio State University Library.
Cohn, Just Play, p. 174.
Wolfgang Iser, The Implied Reader: Patterns in Communication in Prose Fiction from Bunyan to Beckett (Baltimore: Johns Hopkins University Press, 1974) p. 273. Iser’s book was originally published as Der Implizite Leser (Munich: Wilhelm Fink, 1972).
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© 1983 Charles R. Lyons
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Lyons, C.R. (1983). ‘Endgame’. In: Samuel Beckett. Macmillan Modern Dramatists. Palgrave, London. https://doi.org/10.1007/978-1-349-17047-0_3
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