Beckett in Germany

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Beckett in Germany/Germany in Beckett

Author(s): Jack ZipesSource: New German Critique, No. 26, Critical Theory and Modernity (Spring - Summer,1982), pp. 151-158Published by: New German Critique

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BeckettnGermany/GermanynBeckett*

byJackZipes

Consider this cenarioofa play.In thefirst

ct,the

prelude,we are introduced oa

rich, uarrelsomeld

womanknown s thegood person,whohas lost her egs nan accident.Shelives n a statelymansion nd iswaited nby taciturnervant amedJohan-na. The good personbickerswithJohannaabout nothing,nd, thoughherservantould care essthegood person nsists n telling erwhy he decidedtomarry oris, heugliest f ll the rippleswithoutegs,whohad lived n anasylum crossfrom ermansion. n thenext ct, heballroom, hegoodper-son is wheeledabout byJohanna,pretends o be a queen, talks bout thevariousdignitariesnthe mpty oom, nd then alls Boris nly o beratehim.In thefinal ct,theparty,hirteenouplesfrom he sylum, ll withoutegs,

are invited o a birthday arty orBoris.At one point,when Borisbeginstoplay a drum,theycomplain about the sordid conditions n theasylum,especiallybout their mallbeds.Theytalk boutcollective uicide nd theirwish-fulfillmentreams.Thegood personpromises o donate arger eds tothe sylum opacifyhem, nd,as theparty raws oa close,the ripples eal-ize thatBorishasstoppedhisdrummingnd isdead.They eavethegood per-son alone withherdead Boris, nd sheexplodesintoterrifyingaughter.

Anotherplay bySamuel Beckett?No. The author sThomas Bernhard,n Austrian ovelistnd dramatist,

bornin 1931. The play s hisfirst rama,EinFestfur orisA PartyorBoris,

1969),premierenHamburg, ndithas been followed y number f imilarplays uch as Der gnorantndderWahnsinnigeThe ool ndtheMadman, 972),DieMacht nd erGewohnheitThe orcefHabit,974)andVor emRuhestandTheEveofRetirement,979).Allthesedramasmight e described s beingunderthe nfluence fBeckett,nd one could easilybe led to believethatBernhardhas anexceptional elationshipoBeckett,nd that ismacabre ndhauntingplaysmerit comparative tudywith hoseof the "classical"absurdistBec-kett.However,Bernhard snotexceptional.One couldpoint oa hostof Ger-man and Austrianwriters uch as GiinterGrass,Hans GfinterMichelsen,WolfgangHildeshemier,MartinWalser,PeterHandke,and BothoStrauss,

whohavewrittenlaysunderthe hadowof Beckett. ne could even dd thetwofamousSwiss-German riters riedrich iirrenmattnd Max Frisch o

*This articles basedon a talkwhich delivered t the nternationaleckett onference eld nColumbus,Ohio, on May8, 1981.

151








152 Jack ipes

this ist,forthe exceptionhas almost become the rule,at least in WestGermany.

Ever since the first roduction fWaitingorGodotn the 1953-54 eason,Beckett asunquestionablynserted imself s a dominant orcenWestGer-man theater. et,his influence n postwarGermany heaterhas notbeenstudied t engthnterms f tsreception. uchneglects rathertrangeinceBeckett as had ustasgreat n impact n thedevelopment fcontemporaryGerman drama as Brecht,whose receptionhas been documentedmetic-ulously.NotonlyhasBeckett adanuncannyffectponnumerousGermandramatists,ut hisplayshavebeen the ubject fcontroversiesmongaudi-ences and critics like, nd recentGerman heater istoryannotbewrittenproperlywithout lengthyhapter n hisreceptionnGermany.

Since it s impossible o deal with llaspects

of theBeckett eceptionnashort rticle, wanttopointto those areas which consider mportant orfurthertudy:1) Beckett's ersonal nvolvement ithGermany; ) thepro-ductionhistoryf hisplays;3) his nfluence n Germanplaywrights;) ten-denciesofscholarly nvestigation,nparticularhesignificancefTheodorAdorno'sessay Versuch, as Endspielzu verstehen"Tryingo UnderstandEndgame"). y understanding eckettn Germany,' mean to raise morequestions han oprovide nswers, or hedimensions fhisreceptionouchuponcultural ebateswhich ontinue o bsorb German riticsndcannot esummarizedwith acile heses.

Beckett'snvolvementithGermany

Beckettwas notknown ohave had much of an interestnGermanyndGerman ulture ntil he 1930s.Toward the ndof 1935 he hadbecomeveryrestless nd left ondon to travelwidely n Germany.AmongthecitieshevisitedwereHamburg,Liibeck,Liineburg,Brunswick,Leipzig,alle, Nur-emberg,Regensburg,Hannover,Munich,Berlin, nd Dresden. Duringayearoftravelling, e formed ome close tieswithGerman-Jewishntellec-

tuals,made theacquaintanceofsuch renowned rtists s ErnstBarlach ndKarlSchmidt-Rottluff,ndvisited amous ultural nstitutions.e preferredtospendmost fhistime lone andbegantofamiliarize imselfwith ermanliterature,specially heworks fHdlderlin nd Theodor Fontane.Through-out histravels ewasexposed toGermanfascism ndwas disturbed ytheanti-Semitismnd brutalityfthe Nazis.

Later,whenWorldWar I erupted ndFrancewas nvaded,Beckettjoinedresistanceroup nParis,wasobligedto eavethe ity o save his ife,nd con-tinued ooppose thefascists ntil he nd ofthewar.Uponhisreturn oParisin1946,hehad little ontactwithGermans rGermany, xceptfor onsulta-

1.When discussGerman heater,meanto ncludeAustrianndSwisswriters,hoseworkshavebecomeverymuch a partof theWestGermanrepertoire. shall notconsider heBeckettreceptionntheGermanDemocraticRepublicwhichhasvirtuallyannedtheproductionfBec-kett's lays.This snot todiminish he mportance fBeckett or astGerman heater: isnon-reception n the GermanDemocraticRepublic is verymuch partof East Germantheaterhistory.








BeckettnGermany53

tionwith istranslators.hen, n 1966,he wasrequested odirecthe tuttgarttelecast fEhJoe. romthat ime n,Germany ecame Beckett'swnfavortie

testinggroundorhisplays, ndhe formed special ttachmentothe chillerTheater nBerlin,wherehe directed ndgame1967),Krapp'sastTape 1969),Happy ays 1971),WaitingorGodot1975),ThatTime nd Footfalls1976) andPlay1978).His collaboratviefforts ithhistranslatorsndactorshavebeenfully escribed ntheSuhrkamp ource booksand volumesof therehearsalprotocols,2nd in RubyCohen's thorough ookJust lay:Beckett'sheater.s

These importantworksneed tobe supplementednreceptionhistory ypursuingnswers othefollowinguestions:What ffectidfascism aveonBeckett'shinking? hatwerehisattitudesoward heGermans ndGermanculturefterWorldWar I?Why idhe choose todo so muchwork nGermany

during he ate1960sand early1970s at a timewhen thepoliticizedGermantheaters ad turned wayfrom hedrama of the bsurd?How haveproduc-tionsdirected yBeckett ifferedrom roductions tagedbyGermans?Forinstance,na comparative eview fBeckett's roductionndPeter 6scher'sdirection fThat imendFootfallsn 1976,UrsAllemannmade thepoint hat"therewasmore to earn bout thewriter eckett rom hedirector 6scherthan therewasfrom hediretorBeckett." Certainly,ny study fBeckett'sreceptionnGermanymustdistinguish etween Germandirector'snter-pretationwhichmaybe more related o socialconditions nGermany hanBeckett'snterpretationhichmaybe more ike n experimentnan artist's

laboratory.heir ommondenominatorwould be similarGerman udiencesand criticswhoseresponsesmight e importants historicalndices f ocio-aesthetic hange n thereception f Beckett's lays- and also as indicesofchange n thereception favant-garde rama.

TheProductionHistoryofBeckett's lays

In the1953-54 eason20 German heaters roduced Waitingforodot,nd

amongthe minent irectors hodirected heplay nvariouswayswereKarlHeinz Stroux nd FritzKortner. ince thenWaitingorGodot as been per-formedvery ear nGermanywith he xception f he1960/61 nd 1968/69seasons. From1953 until1965Beckett's lays longwith therdramasoftheabsurd by Ionesco, Genet,Arrabal,Audiberti,Tardieu,Saunders,Pinter,Albee, and KopitdominatedtheGermanstage.Thus, Beckett's articularinfluencemustbe studied ociologicallyspart fa trend.Astep nthis irec-tionhasbeenmadebyMichaelDamian's book ZurGeschichtlichkeitesTheaterdesAbsurden,whichfocuseson thethemeofalienation nd comparesthe

2. SeeMaterialienuBeckettsEndspiel"(FrankfurtmMain:Suhrkamp, 968);UrsulaDreysse,ed.,MaterialienuBeckettsWartenufGodot"FrankfurtmMain:Suhrkamp, 973);SamuelBec-kett, liicklicheage. robenprotokollFrankfurtmMain:Suhrkamp, 976);ManuelLichtwitz,d.,MaterialienuSamuel eckettsDerVerwaiser"Frankfurtm Main: Suhrkamp, 976).3. Princeton: rincetonUniversityress,1980.

4. "Becketts eue Stiicke,"Theatereute, 1 1976),43.5. Frankfurtm Main: Haag & Herchen,1977.








154 Jack ipes

reception fBeckett'snd Pinter's laysfrom n orthodoxMarxist ointofview.Bothplaywrightsreviewed sproducts f nepoch nwhich xistential

despairappeared tocharacterizeheZeitgeistfEurope.Yet,there s a danger o ink heproduction fBeckett's lays o an overallsocialand political emper.Manyof the ndividualproductions uring he1950sand 1960sstressed heclown nd comicfeatures fhisplays, nd suchemphasis ronically enerated feeling fhope in audiences,notdespair.There hasbeen a varieteyfdirectorsttracted oBeckett,nd their ifferentpersonal nterpretationsustbe takennto onsideration hen tudyingheproductionhistory, hich s not at all lineal.Beckett lso became a type fcommodityduringthe 1950s,and in some respectshe cateredto marketexpectationsnd audiencepreferences and itmustbe remembered hat

German udiences were argelymiddle-class ndrepresentednly5% ofthepopulation s a constituency. ave productions fBeckett's orks espokentheir deology?Perhapsthe most mportant spectof thereception fBec-kett's ramas s that heyhaverisen bove the wave oftheabsurd,and theplayshave been producedon a fairly egularbasis untilthepresent.Onereasonfor heir success" sthe mall lmost lite ppeal ofplayswhichpuz-zle andchallengehighlyducated udiences.Mostof heproductionsfBec-kett's lays-because they all for mallcastsand sparse settings are instudiotheaters,nd Beckett'sdmirers reavidand loyal. n certain espectsBeckett s a well-versed heater-goer's laywrightnd presents typeof

Rorschachtest foractor and director nablingthem to experiment ndexpress hemselvess freelys they esire.Thus,eachBeckett roductionslike an individual test,a psycho-drama,whose meaning remainsveryindividual fnot ndividualistic.fthere re commontendenciesnGermanproductions, heyhaveyetto be documented. Butone thing s clear:hisappeal has notnotabated,neither ordirector oraudience.

Beckett'snfluencenGermanlaywrights

Perhapsmore thanbeinga play-goer's laywright,eckett an be con-sidered to havebeen an inspirational igure orGermandramatists fthepostwar eriodup tothepresent.His influence anbe traced nthe anguage,structure,ndcontentsftheir lays. he collapseof tructure,iscontinuity,lackofcharacter evelopment,non-communication,anality flangauge,purposeless oetry,epetitionfaction nd archetypicalituations,heunsen-timental epiction fdespair nddeath- allthese Beckett" eaturesanbefound n

theworks fMichelsen, ildesheimer, rass,Walser, auer,Handke,Bernhard,ndothers. o consider hesegeneral imilaritiessnaturallynlythestarting oint. It would be meaningless o lump all theseplaywrightstogethernd assumethatBeckett ad influencedhem.On theotherhand,there snodoubtthat e has nfluencedhesedramatistsndifferentways,ndthat close textual nd thematic nalysismightproduce some interestingresults.








BeckettnGermany55

For nstance,here ave been numerous ooksdealingwithBrechtndtheconsequenceshe has had forWest Germantheater,whereas ittleworkhas

been done on the specificwaysGerman dramatists ave used and trans-formed eckett'sechniques nd themes. t s wellknown hatBrecht imselfwas even ontemplatingrevision fBeckett'sWaitingforodot,nd one of hemoreproductivewaysoftracingBeckett'snfluence,twould seem tome,might ocuson thepoliticalreception f Beckett.Writers ike HeinarKipp-hardtnTheGeneral'sogor PeterWeiss nMockinpottnd even Bernhard nTheEveofRetirementaveendeavored oenter nto political ialoguewith eckettand audiencesbycriticizing mplicitly eckett's ramatic nd philosphicalperspective.he absurd s demonstrated o have casual connection osocialforms fdominationnhistory,nd thedramaticmovement f their lays s

towardmaking ense of enseless ction.Sucha political ebatewithBeckettcan, amconvinced, e also tracedntheplays f BothoStrauss, ranzXaverKroetz, nd HeinerMiiller, o namebuta few f themore noteableGermanplaywrightsroductive oday.Admittedly,hequestionof nfluences a dif-ficult ne toanswer, ut t ppearsthat ritics ave shiedfrom ryingoassesstheBeckett nfluence s thoughone mightbe waiting or theplaywright'sdeathto do himsuch anhonor.Beckett nd theconsequenceshehashadforGermanplaywrightsannevertheless e ascertainednthehere nd now, nthe ngoingdialoguewithBeckettobe found na carefulcrutinyfthe extswrittenyGermanplaywrights,ho haveeither oughtforms o imitate r

overcomehim.

TendenciesnBeckett esearch

Despite the fact hattherehave been relativelyew tudieson Beckett'sinfluence,cholarlynterestnBeckett's ramashasbeenstrongnWestGer-many.Ever since the 1953-54 season numerous books and articleshave

appeared rangingfrom tructuralisto Marxist tudies. There have been

severalmonographs, nd themajornational heatermagazine,Theatereute,haspublishedwell over 30 reviews fhisplays longwith hetranslationsfseveral fhisplays.All thenationalnewspapers ave reviewed roductions fhisplays nnually,nd therehasbeena steady low ffeature rticles n Bec-kett n.the euilleton agesofregional nd nationalnewspapers nd ournals.Among omeofthemajorcritics hohave voiced nterestingiews fBeckettplaysat length re GiinterAnders,ReinhardBaumgart,WilhelmEmrich,ErnstFischer,GeorgHensel,Wolfgangser,Friedrich uft,Marianne Kest-ing,Hans Mayer, nd ErnstWendt.6

6. See Ginter Anders, DieAntiquiertheitdesenschenMunich: Beck, 1968); Reinhard Baumgart,Die verdrdingtehantasie Darmstadt: Luchterhand, 1973); Wilhelm Emrich, Protest nd Verheissung

(Frankfurt m Main: Atheniium, 1960); Ernst Fischer, Kunstund KoexistenzReinbek: Rowohlt,1966); George Hensel, Samuel BeckettVelber bei Hannover: Friedrich, 1965); Wolgang Iser, DieArtistikesMisslingensHeidelberg:Winter, 979);Friedrichuft, timmederritikVelber ei Han-nover: Friedrich, 1965); Marianne Kesting,ParonramadeszeitgenbssischenheatersMunich: Piper,1969); Hans Mayer und Uwe Johnson, eds., Das Werkvon Samuel BeckettFrankfurtam Main:

Suhrkamnp,1975); Ernst Wendt, ModerneDramaturgie Frankfurtam Main: Suhrkamp, 1974).








156 Jack ipes

As mentioned arlier,hemost ignificantssay n Becketts still heodorAdorno's"Versuch, as Endspielzu verstehen" edicated To S.B. inmem-ory fParis,Fall,1958" and published n Noten ur iteraturI (1961).7Thereareseveral easons,nmy pinion,why his ssay skey ndprovides hemostadvantageouscontextforunderstandinghe reception f Beckett n Ger-many.First,Adorno, the leading thinker f the Frankfurtchool in thepostwaryears,had and continues o have a profoundmpact n all Germancritics ho havewrittennBeckett.hat s, t anbeassumedthat ny ritic rscholar,who has takenBecketteriously, as readAdorno'sessay. econdly,Adorno'smajoropponent nthe ssay sthe ncomparableGeorgLukcs, andthrough his ssayBeckett nters hegreatdebateabout realism nd socialrealism.Whether eckettikes t rnot,AdornousesEndgameodemonstratethesocial relevance nd

actualityfBeckett's ramatic rt.

Lastly,n

doingthis,Adornoreveals perspectiven the ocio-politicalituation fwesterncapitalistocieties nthepost-war earswhichhasa lot ncommonwithBec-kett.nfact,his erspectivehiftshereception uestion n n interestingwayso that hefocalpointbecomesBeckett'seceptionfGermany,r the mpact fthe holocaustengenderedbyGermanfascism n Beckett.Obviously, heessay s also extremelyignificantorunderstanding dorno'sreception ffascism nd theholocaust nd shiftsnhispolitical nd aesthetic heories.8

As a German-Jewishntellectual ithMarxisteanings, orced ofleeEur-ope in the1930sforAmerica nd thenmoreor ess forced oflee McCarthy

America"forWestGermanynthe ate1940s- sort f dramaofthe bsurdin tself--Adorno'smoreoptimistichilosophical iews fthe1920s ndearly1930swere hattereduring hewaryears,nd hedevelopedepistemologicalcategoriesdumbratingheroleof utonomous ubjectivityorhis ater on-ceptofnegative ialectics.nconnectionwith his,Adornocameto nsist hatthe rtist's ole nsocietywasnotto ntervenenan activeway n thepoliticalprocess, ut toassume a position ftotalnegationwhichn tselfwas protestsince ucha positionwas a refusal oaccept he business s usual"routine ntheculture ndustry.

One ofthequestionsAdornocontinually osed was whether oetrywas

possible fter uschwitz. o hismind he ssence frealitys ithadbecome, nits otallyeified ormfterWorld ar I, could notbecaptured ropposedinanyconventionalmimetic orm.Hence,hisoppostiontoLukicsand Brechtaswell.Yet, his idnotmeanthat rthad lost ts ocialfunctionndaestheticpotential orproviding nsightntotheessence of ife, utthat rtists ad todevisenewmeans forprojecting heconsequenceswhichGermanfascism,Auschwitz, heHolocaust,and the atomicbomb havehad forreality.t isfrom hisvantagepointthatAdornoregardedBeckett s one of the mostrealisticnd vitalpoetsofthepost-Auschwitziange.

His essayarguesthat to comprehendEndgamean onlymean to com-

prehend ts ncomprehensibility,oncretelyoreconstructhemeaningless-nessof ts onnectedmeanings. n this espect, ecketts a post-existentialist

7. Frankfurtm Main: Suhrkamrnp,961,pp. 188-236.8. The best nalysis fAdorno'sessay sW.Martin udke'sAnmerkungenueinerLogikesZer-

falls":Adorno BeckettFrankfurtm Main: Suhrkamp, 981).








BeckettnGermany57

writer.French xistentialismad tackled istory.nBeckett, istoryevoursexistentialism.n Endgame, historicalmoment s revealed, heexperiencewhichwas cited nthe itle f he ulture

ndustry'subbish ookCorpsed.fter

theSecondWorldWar,everythings destroyed, ven resurrectedulture,withoutknowingt;humanity egetates long,crawling fter ventswhicheventhe urvivorsannotreally urvive,n a pileofruinswhich venrendersfutile elf-reflectionf one's own battered tate."9

Adorno'sthorough hilosophical nvestigationf theplay s based on hisnotion hathumanconsciousnesshas beenbombed out."The condition re-sentedin the play is nothingotherthanthat n which there's no morenature'."o10he reificationf theworldhas been completed, nd this llowsonlyfor ermanent atastrophes. et, here s a remarkable umanistic om-

ponent n Beckett's laywhich resides n the factthathe refuses o issuedeclamations and protestationsentimentallyn the name of humanity.Rather eregistersnsentimentallyheresults facapitalist rocess faliena-tion nwhich he ndividual oses consciousness nd becomes ittlemore hana historical ragmentn a worldwherenaturehas been thoroughlyxploitedand depleted.

AdornoregardsBeckett's rtwork s exemplary or hepost-Auschwitzianworldbecause in artunreconciled ealityolerates o reconciliation ith heobject;realism,whichdoes not reach the evel ofsubjective xperience, osaynothing freaching urther, erelymimics econciliation.hedignityf

arttoday s notmeasuredbyaskingwhethertslipsout of this ntimony yluck orcleverness, ut whether rt onfrontsnd develops t. n that egard,Endgames exemplary."

Adorno'sanalysis nd defense f Becketts philosphicallymorepertinentand politicallymoresignificanthan socialistrealist r so-calledbourgeoisrealistwritersmustbe regarded irstnd foremosts a rationalization f hisownphilosophical nd politicalposition.Bearing his nmind,we must lsorememberhatmost riticsndaudiences n the1950s nd 1960sdid notviewBeckett s a writerwho mighthelp them deal withfascism r help themunderstand hecapitalist rocessof alienation. fanything, eckett ed nto

thevery rocessofalienation tself. oth nEndgamend Waitingforodot,henonsensicalplay ends oconfirm belief n the bsurdityftheworld nd tomake t ppearthat ny ttempto cometogripswith ocialproblemswouldbe fruitless.here s a strong pologetic lement n Beckett's ndgame, hichcan onlyserveto legitimize hedeceptivemeans bywhich domination smaintainedn a socialorder,whethertbe capitalist r socialist.

Adorno overlookstheapologeticand legitimizing eatures f Beckett'sEndgame ecause the dramatist'sworks xemplifyhe elitistnotionofart,especiallymodernistiterature, hichAdornowaselaborating t that ime.Yet,despitethisoversight, dorno recognizedelements n Endgame, ar-

ticuarlyhe ocial andpolitical lements,which penthewayfor critical ndhistoricaleception fBeckettnGermanyhat as notbeenfullyndertaken.

9. "Versuch, as Endspielzu Verstehen," . 192.10. bid., . 193.11. bid., . 200f.








158 Jack ipes

I am talking bout the"Germany" n Becket, hesignificancefBeckett'sexperience fGermany,he havoc and destruction aused byfascism.

It seems tome that heactualcreation fWaitingorGodotnd Endgamesunthinkable ithoutakingnto ccountBeckett'sxperience fwar, oncen-trationamps,massconformity,nd cultural ado-masochism. nd it eemstomethatGerman udiencesresponded o Beckett fterhewarbecausetheycould nothelpat timesbutthink fthe senselessness fwaiting or FiihrerwhilewatchingWaitingorGodot r thecripplednatureof their ives whilewatchingndgame,rapp'sastTape, r Happy ays.Obviously,t sdifficultoascertainwhatthe magesofBeckett's laysrecalled nGerman udiences,and,as I havementioned, hecrypticmessages nd symbolismlso cloudedand distractedhe mindsof viewers rom rawing ocial connections. till,

thisdoes notdetract rom heview hat hereception fBeckettnGermanycan onlybe understood n light fGermanfascism'smpacton Beckett'sexperience frealitynthe 1930s nd 1940s, nd inturn, eckett'seeminglyimcomprehensiblemagesof bombed-out ives nd devastation anonlybecomprehendednGermanreception istorys closely onnected oways flife nd actionwhich mergedwith hoseforces hatgaveriseto Auschwitz.Eventoday, t s not tooexaggerated ocontend,German udiencesstill e-spondto that Germany"nBeckett, hichAdornowas thefirsteally o des-cribe. How and whyGermanaudiences havecontinually espondedto theGermanynBeckettnthepostwar ears, he onsequencesofBeckett these

matterstillneed to be analyzed nmoredetail.

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