Theatre degree zero.

From: Studies in the Literary Imagination | Date: September 22, 2001| Author: | Copyright information

In Hamm's story in Samuel Beckett's Endgame, all the readings are zero: wind speed, humidity, temperature. Like the woman in her rocking chair in Rockaby, or, more distantly, Murphy in his, Hamm has arrived at a condition of minimal movement around a point of rest, and he invites his listener to share it imaginatively. Beckett's performance world often oscillates toward this near-stasis, along a variety of axes: movement, rhythm, vocal or lexical range. It is frequently configured as a virtual non-locus: a no-time, no-place in which activity congeals through repetition into ...

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