INTERTEXTUALITY, A SPECTACULAR CULTURAL COORDINATION OF SAMUEL BECKETT’S WORKS
INTERTEXTUALITY, A SPECTACULAR CULTURAL COORDINATION OF SAMUEL BECKETT’S WORKS

Summary/Abstract: Stylistically, Beckett’s art makes sense when it comes down to a pure core of forms and ideas Beckett’s theatre plays being appreciated only when their intertextual dimension receives the attention they deserve. As a result, the new type of character, as is the case with Beckett’s protagonists, has no part in any future that can be imagined in the ordinary way, but is given to go over and over again through the same events through which it has been last. Moreover, the intextuality cannot be reduced to the written text or the linguistic code. This type of intertextuality is peculiar to Beckett’s texts that form the same class of texts and is manifested within the same genre, literary species, regardless of the time when the text was created. Also, an intertextuality relation at the level of the meaning is constituted between the variants of the same text, which appear in the individual process of creation. In this plan, it is necessary to mention that the changes that the writer makes are made at the level of the signifier and very rarely at the level of the signified. We discover that such a reading does not exhaust the problematic of Beckett’s theatre plays, which, from a different perspective, will be closer to postmodernism than to the theatre of the absurd, appealing to aesthetic concepts such as that of intertextuality. This is a major concern related to the resources and the possibilities expressive to language, literature in general and theatre in particular we are particularly interested to emphasize in our article.

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