Which Samuel Becket play tells the story of 'Hamm', who is unable to stand, and his servant 'Clov', who is unable to sit down, and their lives with 'Hamm's' parents who live in rubbish bins in the corner of the house?
"Endgame (play) Endgame, by Samuel Beckett, is a one-act play with four characters. It was originally written in French (entitled ""Fin de partie""); Beckett himself translated it into English. The play was first performed in a French-language production at the Royal Court Theatre in London, opening on 3 April 1957. It is commonly considered, along with such works as ""Waiting for Godot"", to be among Beckett's best works. The play was premiered on 3 April 1957 at the Royal Court Theatre, London, directed by Roger Blin, who also played Hamm; Jean Martin was Clov, Georges Adet was Nagg and Christine"
"father being disabled, and his mother running a tea shop to support the family. His relationship with his family's servants was also similar to Hally's, as he sometimes considered them his friends, but other times treated them like subservient help, insisting that he be called ""Master Harold"", and once spitting in the face of one he had been close to. The play was initially banned from production in South Africa. It was the first of Fugard's plays to premiere outside of South Africa. The play recounts the long, rainy afternoon that Hally (""Master Harold"") spends with Sam and Willie, two"
"middle-aged African servants of his parent's household, in a tea shop owned by Hally's mother. Sam and Willie have cared for seventeen year old Hally his whole life. At the start of the play Sam and Willie are practicing ballroom steps in preparation for a major competition, while maintaining the tea shop. Business is slow due to the rain. Sam is quickly revealed as being the more worldly of the two. When Willie, in broken English, describes his ballroom partner and girlfriend as lacking enthusiasm, Sam correctly diagnoses the problem: Willie beats her if she doesn't know the steps. Hally"
"family was from near Caen and was called ""Becquet"", ""Bequet"" or ""Becket"" in Old Norman), Anouilh could not recast the play to accord with historical facts, so he decided to let it stand. Aspects of the content that can safely be considered true are the conflicts between England and France, church and state, and the outline biography of Becket. The play is a re-enactment of the conflicts between King Henry II and Thomas Becket as the latter (Henry's best friend) ascends to power, becoming the King's enemy. Becket begins as a clever, but hedonistic, companion; as a result of being"
"to make ends meet and Mason, who lives in a barren mansion while his father is away running jobs for the Hong Kong Triad. Mason's father vanishes, leaving Mason to care for himself, and hiding from the INS and Child Services. Mason and Alix become friends through their struggle to survive and escape their parents' mistakes. ""Nomad Motel"" was produced at the O'Neill Playwrights Conference, National New Play Network Showcase of New Plays, Atlantic Theatre Company's Mixfest, City Theatre Company and is an SCR Time Warner CrossRoads Commission. ""The Two Kids That Blow Shit Up"" takes place in New York,"
"tortured, but no torturer arrives. Instead, they realize they are there to torture each other, which they do effectively by probing each other's sins, desires, and unpleasant memories. Existentialist themes are displayed in the Theatre of the Absurd, notably in Samuel Beckett's ""Waiting for Godot"", in which two men divert themselves while they wait expectantly for someone (or something) named Godot who never arrives. They claim Godot is an acquaintance, but in fact, hardly know him, admitting they would not recognize him if they saw him. Samuel Beckett, once asked who or what Godot is, replied, ""If I knew, I"
"Rules for Living (play) Rules for Living is a dark comedy about family dysfunction and societal norms by Sam Holcroft. Holcroft explores coping with family dynamics and social constructs that limit behaviors through cognitive therapy. The play follows a family preparing for Christmas lunch and tensions begin to rise as they deal with family issues. Each movement, gesture, or voice is dictated over by the play's set of ""rules"" which the actors must follow to function correctly in Holcroft's world. Matthew and Carrie, a couple, are talking and unpacking food in the kitchen for Christmas dinner at Matthew's parent's house."
"after having killed herself. Soon, Hamlet enters and engages in a quick dialogue with the first Gravedigger. The beat ends with Hamlet's speech regarding the circle of life prompted by his discovery of the skull of his father's beloved jester, Yorick. The penultimate scene of the play begins with the two clowns digging a grave for the late Ophelia. They debate whether she should be allowed to have a Christian burial, because she committed suicide. This quickly leads them into a discussion of the impact of politics on the decision, and the two parody lawyer speech. They present Ophelia's case"
"teeth; he wears clothes made of leaves (autumn leaves in the play, skeleton leaves in the novel) and plays the pipes. He is the only boy able to fly without the help of Tinker Bell's fairy dust. He has refused to grow up and distrusts mothers as he felt betrayed by his own mother. He cares about Wendy, but can only see her as a motherly figure, not as a romantic and girlfriend/love interest. Barrie attributes this to ""the riddle of his very being"". According to Barrie's description of the Darlings' house, the family lives in Bloomsbury, London. The play's"
"Hamlet's famous ""Alas, poor Yorick"" speech. During the Interregnum, all theatres were closed down by the puritan government. However, even during this time playlets known as ""drolls"" were often performed illegally, including one based on the two clowns, called ""The Grave-Makers"", based on Act 5, Scene 1 of ""Hamlet"". He officiates at Ophelia's funeral, and does not give her full Christian burial rights, since the church suspects her death was suicide. Called a ""Priest"" in the First Folio edition of ""Hamlet,"" his speech prefix in the Second Quarto is ""Doct"" for Doctor of Divinity, a Protestant clergyman. Thus, the two"
"is in iambic pentameter. It is found in Act III, Scene II of ""Hamlet"", where it is spoken by Queen Gertrude, Hamlet's mother. Hamlet believes that his father, the king, was murdered by his uncle Claudius (who then married Gertrude). Hamlet decides to stage a play, the ""Murder of Gonzago"", that matches Hamlet's theory in its basic storyline, in order to test whether viewing it will trigger a guilty conscience on the part of Claudius. As Hamlet, Gertrude, Claudius and others watch the play-within-the-play, the Player Queen, representing Gertrude, declares in flowery language that she will never remarry if her"
"the deaths of his love Ophelia (drowning) and of his mother Gertrude (poisoned by Claudius by mistake). The play opens with Hamlet deeply depressed over the recent death of his father, King Hamlet, and his uncle Claudius' ascension to the throne and hasty marriage to Hamlet's mother Gertrude. One night, his father's ghost appears to him and tells him that Claudius murdered him in order to usurp the throne, and commands his son to avenge his death. Claudius sends for two of Hamlet's friends from Wittenberg, to find out what is causing Hamlet so much pain. Claudius and his advisor"
"Sham (play) Sham is a 1920 one-act stage play by Frank G. Tompkins. Described as ""A Social Satire"", it was about a thief who is caught robbing a couple's home. Consisting of four characters, the comedy is set in a room of a house in a wealthy area. A cultured thief is attempting to rob the house, after he has stolen fine art from other houses in the area, but he finds the objects in the house are of poor quality. The owners of the house, Clara and Charles, come home unexpectedly after supposedly being at the theatre (they were"
"financial issues that many poor families faced in 19th-century England. Although his spirit is robust, Tiny Tim's life expectancy is questionable. His crutch and iron frame support his frail body—he ""bore a little crutch, and had his limbs supported by an iron frame"", but more support is needed for Tim if he is to survive, as pointed out by the Ghost of Christmas Present in stave III: ""I see a vacant seat in the poor chimney corner, and a crutch without an owner, carefully preserved. If these shadows remain unaltered by the future, the child will die."" These are a"
"second full length play. The play, in the absurdist genre, contains numerous diversions and non-sequiturs, such as people riding to hounds on camels, and a game of three-handed whist played by two participants, without cards, in the dark, but the core consists of the efforts of the son of the house, Kirby, to teach a collection of talking weight machines, which he has stolen, to sing the Hallelujah chorus from ""Messiah"", and his father's decision to build a replica of the Old Bailey in the sitting room. Elsewhere in the household Mrs Groomkirby is so obsessed with cooking that she"
"of being in the play"" says Levin of Prince Hamlet's behavior. He often makes excuses for his inability to act. For example, in Hamlet's soliloquy at the end of act II.ii, he compares himself to the actor and how he himself pales in comparison to that player. In lines 577–580, Hamlet says, ""O, what a rogue and peasant slave am I! Is it not monstrous that this player here, But in a fiction, in a dream of passion, Could force his soul so his own conceit ..."" He ultimately only takes action because his Uncle Claudius leaves him no choice."
"The Ham Funeral The Ham Funeral is a play by Australian writer Patrick White. It was written in 1948 and is loosely based on a painting by William Dobell, ""The Dead Landlord"". The play is set in a filthy rooming house in the depressing context of post-war London, and has as its protagonist a young poet whose attempted seduction by the aptly named Mrs Lusty, his landlady, drives the tragicomic drama. The 'ham funeral' of the title is the feast to mourn the sudden death of Mrs Lusty's husband, held in Act 2. ""The Ham Funeral"" was submitted for and"
"place both in a kind of no-man's-land and the actual setting of ""Hamlet"". ""Shakespeare's play ""Hamlet"" is in several ways an essay in sustained liminality ... only via a condition of complete liminality can Hamlet finally see the way forward"". In the play ""Waiting for Godot"" for the entire length of the play, two men walk around restlessly on an empty stage. They alternate between hope and hopelessness. At times one forgets what they are even waiting for, and the other reminds him: ""We are waiting for Godot"". The identity of 'Godot' is never revealed, and perhaps the men do"
"by comparing her son to Hamlet. Later he tries to come between them, as Hamlet had done with his mother and her new husband. The tragic developments in the plot follow in part from the scorn the mother shows for her son's play. Shakespeare adopted the play-within-a-play device for many of his other plays as well, including ""A Midsummer Night's Dream""and ""Love's Labours Lost"". Almost the whole of ""The Taming of the Shrew"" is a play-within-a-play, presented to convince Christopher Sly, a drunken tinker, that he is a nobleman watching a private performance, but the device has no relevance to"
"For Services Rendered For Services Rendered is a play by Somerset Maugham. First performed in London in 1932, the play is about the effects of World War I on an English family. Leonard Ardsley Charlotte Ardsley, Leonard’s wife Sydney Ardsley, blinded during World War One Eva Ardsley Lois Ardsley Ethel Bartlett Howard Bartlett, Ethel’s husband Collie Stratton Wilfred Cedar Gwen Cedar, Wilfred’s wife Dr Charles Prentice, Charlotte’s brother Gertrude Set in late summer 1932 in Kent, the Ardsley family seem to be managing their lives very well following World War One and the Great Depression. In reality, each of them"
"to ""T. B.""; the title page states that the play was performed by Queen Henrietta's Men at the Cockpit Theatre—though the inaccuracy of the attribution renders all the assertions of the title page questionable. A fourth edition appeared in 1667 as the work of ""J. S."" The 1667 title page maintains that the play was ""Acted at the new playhouse called the Nursery, in Hatton Garden,"" reflecting a Restoration revival. Hartwell is a gentleman who is suffering financial reverses; he is forced to dismiss his servants and shut up his house. Hartwell loves Frances; Frances's mother Bellamy, in order to"
"house of her own in return for her help. On the night of the banquet, Sir Edward reminisces with Anna about old times in an attempt to bring her back to British society. The King however walks in on them dancing and irritably reminds them that dancing is for after dinner. After impressing the guests with his intellectual observations, the King presents Tuptim's version of ""Uncle Tom's Cabin"" – which is presented as a traditional Siamese ballet. However, the King and the Kralahome are not impressed, as the play involves the issue of slavery and shows the slaveholding King dead"
"a place he can call home. Ruby was forced to work as a domestic from a young age and was driven insane by the abuse of her white masters. In the latter part of the play, she spends a lot of her time mumbling to herself, whilst her family desperately try to help her. Jimmy was separated from his mother at a very young age, and she spent her entire life looking for him. He spent a lot of time in prison, and on the day he finally got out, he was told about his mother’s search. As he went"
"occurring onstage without them in ""Hamlet"", of which they have no direct knowledge. Comparisons have also been drawn with Samuel Beckett's ""Waiting for Godot"", for the presence of two central characters who almost appear to be two halves of a single character. Many plot features are similar as well: the characters pass time by playing Questions, impersonating other characters, and interrupting each other or remaining silent for long periods of time. The title is taken directly from the final scene of Shakespeare's ""Hamlet"". In earlier scenes, Prince Hamlet, having been exiled to England by the treacherous King of Denmark (his"
"S. Chalmers Canadian Play Award for Harlem Duet. ""Harlem, 1928."" Billie and Othello discuss his infidelity with an unnamed white woman. ""Harlem, Present."" Billie lives in a walkup at the intersection of Malcolm X and Martin Luther King Boulevard in Harlem, NY. She is emotionally and intellectually broken, as her husband Othello has left her for a white colleague named Mona. Billie is supported by her landlady and by Amah, Othello's sister, while she writes and lives as a shut-in. ""Southern US, 1860."" Othello, here a slave and blacksmith, woos Billie by gifting her his mother's handkerchief. ""Harlem, Present."" Billie"
"intense summer heat wave and a prolonged garbage strike, which exacerbates Edison's plight as he and his wife Edna deal with noisy neighbors, loud sounds emanating from Manhattan streets up to their apartment, and even a broad-daylight burglary of their apartment. Mel eventually suffers a nervous breakdown and it is up to the loving care of his brother Harry, his sisters, and Edna to restore him to a firm reality. The Prisoner of Second Avenue The Prisoner of Second Avenue is an American black comedy play by Neil Simon, later made into a film released in 1975. ""The Prisoner of"
"Shakespeare's play ""Hamlet""; According to Scott-Douglas, Alexander observes Oscar playing ""Hamlet""'s Ghost before he dies, and afterwards appears as a ghost, while Alexander acquires a new abusive stepfather. This made ""theatre and reality seem indistinguishable"". Cohen-Shalev argued Oscar being reduced to a ghost is his punishment for never truly living, and losing his life. Törnqvist wrote the ""triangle"" of Alexander, Emelie and Edvard is explicitly explained with Emelie's reference to ""Hamlet"", and the characters Hamlet, Queen Gertrude and King Claudius: ""Don't act Hamlet, my son. I'm not Queen Gertrude, your kind stepfather is no king of Denmark, and this is"
"characters, namely Norman, his wife Ruth, her brother Reg and his wife Sarah, Ruth's sister Annie, and Tom, Annie's next-door-neighbour. A seventh unseen and unheard character is in the house, upstairs: the bedridden mother of Reg, Ruth and Annie. The plays are at times wildly comic, and at times poignant, in their portrayals of the relationships among the six characters. Each play is self-contained, and they may be watched in any order. Some of the scenes overlap, and on several occasions a character's exit from one play corresponds with an entrance in another. Similarly, noise and commotion in one room"
"to argue that Rowley may be as absent from the work as Middleton. Yet no convincing alternative candidate for author has been identified. The play's plot centers on the fortunes of an old usurer named Bloodhound and his three children, his sons Alexander and Tim and his daughter Moll. Bloodhound has fallen out with his elder son Alexander, who is a prodigal and reprobate, and has decided to make his foolish younger son Tim his heir. The opening scene shows Tim running his father's pawnbroking business, making small loans to London tradesmen on their tools. Tim is seconded by a"
"Prince Hamlet Prince Hamlet is the title role and protagonist of William Shakespeare's c. 1600 tragedy ""Hamlet"". He is the Prince of Denmark, nephew to the usurping Claudius, and son of King Hamlet, the previous King of Denmark. At the beginning of the play, he struggles with whether, and how, to avenge the murder of his father, and struggles with his own sanity along the way. By the end of the tragedy, Hamlet has caused the deaths of Polonius, Laertes, Claudius, and two acquaintances of his from the University of Wittenberg Rosencrantz and Guildenstern. He is also indirectly involved in"
"""Hamlet"". The violent question of bloodlines and succession is one that serves as a key element in many of Shakespeare's plays, spanning from ""Hamlet"" to ""Richard II"" and ""Macbeth"", and it is one that is clearly one of the major concerns of ""Otranto"". The link to ""Hamlet"" is strengthened even more because of the matter of incest that is also at play in ""Otranto"". ""In ""Otranto"", the castle and its labyrinths become grounds for incest that signal the dissolution of familial bonds"", which is also a major point of issue in ""Hamlet"" since Hamlet's mother (Gertrude) and his uncle (Claudius)"
"with ""self-reproaches"" and ""scruples of conscience, which remind him that he himself is literally no better than the sinner whom he is to punish"". Freud goes on to suggest that Hamlet's apparent ""distaste for sexuality"", as expressed in his conversation with Ophelia (presumably in the 'nunnery scene' rather than during the play-within-a-play), ""fits in well"" with this interpretation. Since this theory, the 'closet scene' in which Hamlet confronts his mother in her private quarters has been portrayed in a sexual light in several performances. Hamlet is played as scolding his mother for having sex with Claudius while simultaneously wishing (unconsciously)"
"(M). To his right is his wife (W1) or long-time partner. The third urn holds his mistress (W2). Their “[f]aces [are] so lost to age and aspect as to seem almost part of the urns.” Beckett had used similar imagery before, Mahood’s jar in ""The Unnameable"", for example, or the dustbins occupied by Nell and Nagg in ""Endgame"". At the beginning and end of the play, a spotlight picks out all three faces, and all three characters recite their own lines, in what Beckett terms a ""chorus""; the effect is unintelligible. The main part of this play is made up"