Play in Invention and Culture: Beckett's Creative Domain Analysis

This essay provides a comprehensive analysis of Samuel Beckett's creative domain, focusing on his use of absurd theatre and play theories. It explores Beckett's background, thought processes, and his unique approach to writing, including his famous play "Waiting for Godot." The essay examines how Beckett's work, influenced by figures like Sigmund Freud, challenged conventional plot structures and explored themes of human existence and meaninglessness. It delves into Beckett's contributions to the field, his use of language, and his impact on the audience. The essay also includes a reflection on how studying Beckett's work has influenced the author's understanding of creativity and play in their own life, and how it can be applied to other domains. The essay concludes by highlighting the importance of play and creative domain in developing human understanding.

PLAY IN INVENTION AND
CULTURE

Contents
Introduction...........................................................................................................................................3
Discussion on creative domain..............................................................................................................3
Conclusion.............................................................................................................................................7
References.............................................................................................................................................9

Introduction
This essay brings out a discussion on creative domain. In order to explore this domain and
gain a deeper understanding, this essay will explore the though process and play theories of
Samuel Beckett, who had coined “absurd theatre.” The main aim of Beckett was to establish
the self as poet and novelist as not only a journalist and theorist (Gale, 2016). Beckett had
emerged from the occasional events through a consistent theory by establishing a relationship
between human knowledge and art. He started putting up the use of early drama and its
practise in terms drama and early fiction (Murphy, 2016). Further, after exploring his creative
domain, there is a reflection provided below showing that to what extent studying the absurd
form of theatre helped to learn the theories and concepts of theatre and it has also created
greater contribution to my creative and playful life (Murphy, 2016). The importance of
teachings the community concepts have started relying on play and drama experiences.
Engaging freely with the pre-settings have enhanced the education system by strengthening
the setting environment (Gale, 2016). A drama and play occurs in several forms such as play
with peers, play with objects, solitary play, associative play, cooperative play, and physical
play. This essay has elaborated the learnings from theatre and its concepts with the change in
the creative domain (Murphy, 2016).
Discussion on creative domain
Samuel Beckett is a renowned theatre director, Irish playwright, poet, and novelist. He
remained one of the influential writer in the 20th century. His writings are associated with the
conventional plot writing and structuring it so that he can explore human conditioning in such
a way that he profound bleakly humour and created the weapon of laughter against the
despair. Beckett was born on 13th April 1906 in Dublin. He continued his studies in Dublin
with Italian, French, and English at Trinity College. After settling in Paris and began to write

prolific piece of writings. The person was died in December 22 1989 in Paris. One of the
most famous writing of Beckett is waiting for Godot. This play put a critic where nothing
happens. He had coined the concept of absurd theatre such as “Theatre in London” where it
focuses on repetition and silence. After waiting for Godot, the writer undertook to write more
such stories in French as well as translated to English. Beckett wrote Endgame (1957), Happy
days (1961) and Krapp’s last tape (1958). The writer`s work became famous as it
increasingly related to experiments as well as the minimalist. In 1950, the writer published
three novels that also includes “molloy” that has also won Nobel Prize for the literature. This
writer had started his work and writing with a critical essay “Joyce” (work in progress). The
main aim of Beckett is not only set out to develop literacy aesthetic but it is to establish the
self as creative writer. It always emerges as an consistent piece regarding the relationship
between human knowledge and art. Beckett has argued that essence and absolute knowledge
are beyond the reach of humans where the art will be reflected. He had analysed that the
human artist is possessed of omnipotent and omnipresent of God. He was not only able to
reflect and mirror the art where infinite complexity at large world level and it will device the
work independency of a thing created earlier (Brown, 2018). This is because of power,
theatrical knowledge have limited extent, and it is able to hintat the complexity of the work
inevitable and derive from earlier art forms (Murphy, 2016).
This writer is well known for following a particular kind of theory named as “Sigmund
Freud” who was the father of psychoanalysis asserts. He often says that a part of our mind
that is deeply and largely unattainable. These unconscious thoughts remain in the mind,
which, means this data cannot be easily brought at the surface without agreeing with one`s
will (Gale, 2016). The play named “waiting for Godot” has characters that could reflect the
theory of Sigmund Freud that covers to assert psychological, political, biblical, and
Christianity. The character in the play and contradiction, speeches and repetitions that their

dialogues were reflecting which sometimes appear to be so uncertain to find deep
philosophical idea in them. Freudian theory of the personality is a personality that clearly
defines and have clear definition of id, ego, and the superego (Gale, 2016).
With the introduction of postmodern and the collision of ideas in “Waiting for Godot,” which
consists of series of games, and language that will further constitute the existence and its
form of social bond. From the contemporary thought, it is seen that two main concepts such
as play and language games (Gale, 2016). The main six characteristics behind each of the
character on stage. These characters had given the feeling of strangeness and it is
meaningless. Samuel Beckett had presented the play in such a method where all the
characters presented in play states that it is useless and meaningless (Avgerinou, 2017). This
story has a strange plot in the play. As this story has no past story and this lead to conduction
to present and utter similar kind of meaningless actions and conversation. This play lays
down that the main purpose while processing the characteristics that is actually analysing the
existence of man. In order to explore the representation of the drama time of Beckett follows
a methodology that selects from repertoire play that is supposed to include the discussion on
this art form (Avgerinou, 2017). The main aspects covering the support discussion, it can be
said that the three components such as issues for the modernist writers in order to three
components such as problematic approach for the modernist writers so that they can
comprehend the history, space, and history. Further, the artist has discussed on concepts
related to past, present and future rather presenting such an environment that will be directly
connected to the atmosphere and the experience of second world war (Avgerinou, 2017).
Beckett tries to enhance and increase the intensity that has to be represented by the
conventions. In the story, the writer maintains an intricate relation between the memory and
the trauma that is dramatized the location of self in characters. Further, the concept deals with
issue of space and how drama represent inner self can and inner mind (Avgerinou, 2017).

Some of the later dramas will explore and represent inner consciousness when addressing the
effect of dramatic form. It will further conclude that it is important to remove the space so
that world of play can become a part of audience and their inner consciousness. Beckett
represents time and creates space in the drama any voice of crying when being hurt and
wound that will represent the terror and trauma of today. From the personal experiences of
war and fight that has spoiled, obeys the convention of tragedy and the presentation of trauma
caused due to Second World War. He playwright also use the concept of Meta theatre in such
a way that will benefit the audience. Beckett is well known for the absurd art that he has
coined (Grogan, 2016).
It is important to enjoy and consistently live a moment that can create an creative domain. I
usually followed a path that includes two productive works where one of them will create
money and other one will create enhance the power to understand people and own thoughts
with an passion but it is quite probable that it does not create any money (Gontarski, 2018).
For me, experiencing the absurd form of art with a sentence that has life in itself where it says
life is meaningless. Although not every play contributed to my creative domain but here are
some of the important characteristics on the basis of which I took a stand. He helped me to
investigate the relativity of truthfulness of each character (Kidd, 2016). As it always an
proper and structured plot of stories, he gives an opportunity to create a self-character rather
than adapting any other person (Gontarski, 2018). The important part is that I should only to
try communicating a level of person without bring that person. No character has definite
stability and it uses small talks with no sense. After studying on any other subject when it
frustrates the self, absurd theatre is an way that revive the self in me without any tension and
fear (Avgerinou, 2017). I create my own character, practise it, and connect it to an unreliable
tragedy so that it can absurdly attempt to control my fate. The most interesting part of
choosing absurd theatre is because its stories often rejects the classic plot and it follow a

tradition where its demand is exposition, ending, and climax. I have played a cyclical
structure that can be better described as diminishing spirals. I have seen that audience often
enjoys absurd theatre as provides an chance and opportunity to dream of ending audience as
there is no need to use any logical structure of drama (Avgerinou, 2017). The way of
executing, these types of plays have only few actions in their work as the state of human or
actors is aimless and illogical. Till the end of the story from absurd theatre, it is seen that
traditional structures are often being ignored and dialogue does not have any sense and the
related characters are also not grounded and based on reality. It gives me a sense of comedy
and life reviving actions that covers specific theme and the play is dumb. This part does not
create any pressure on mind and allows me to see myself as a new character that I was never
been (Avgerinou, 2017).
Conclusion
From the discussion given above, it is seen that creative domain plays a significant role in
developing a human sense and understanding. Beckett emerged to write the critical essays
regarding the unconsciousness and power of mind that can penetrate to meet the
understanding of omnipotent and omnipresent God. One of the most renowned play was
“Waiting for Godot” that was brought out through collision of ideas and emergence of series
of theatre games. The main idea of involving and engaging the central learning of human life
and a sense of living a life with the help of enacting in an play. It brings out different spheres
of the child`s life such as school, community, wider world, community and home.
There is a great connectivity and continuity of the learning process in different situations of
life when it will occur with us and not. The teachers play an important as well as critical role
by initiating, scaffolding, learning, guiding, and the playful experience. During the whole
journey that can be made to be transformational journey, it is important to ensure that adults
have appropriate knowledge of skills and theatre games so that they could recognised the

benefits by fostering environment as well as time (Smith, 2018). Attitude towards
misconception in regards to play in the minds of the parents led to an expression of the
feeling that is frivolous and have certain play opportunities that will give time to create
his/her own creative domain.

References
Avgerinou, M. (2017). Wittgenstein’s language and Beckett: the limits of language and the
absurd. Filozofija i društvo, 28(2), 365-376.
Avgerinou, M. (2017). Wittgenstein’s language and Beckett: the limits of language and the
absurd. Filozofija i društvo, 28(2), 365-376.
Brown, L. (2018). The Monad and the Cut in Samuel Beckett’s Endgame. Sanglap: Journal
of Literary and Cultural Inquiry, 4(2), 55-79.
Gale, C. L. (2016). A Study Guide for Samuel Beckett's" Endgame". Gale, Cengage Learning.
Gontarski, S. E. (2018). Theoretical and Theatrical Intersections: Samuel Beckett, Herbert
Blau, Civil Rights, and the Politics of Godot. In Beckett and Modernism (pp. 179-
192). Palgrave Macmillan, Cham.
Grogan, J. (2016). Samuel Beckett and the theatrical expression of the human psyche: five
major post-war plays: from Waiting for Godot to Not I (1953-73) (Bachelor's thesis,
University of Malta).
Kidd, E. (2016). Two-Part Invention: Voices from Augustine's The Teacher and Samuel
Beckett's Endgame. Philosophy and Literature, 40(2), 480-494.
Murphy, C. (2016). Kuwaiting for Godot: The Absurd Theatre of War in Jarhead. A
Companion to the War Film, 338-355.
Smith, S. (2018). Samuel Beckett’s Endgame and the Economy of Ressentiment.
In Nietzsche and Modernism (pp. 161-206). Palgrave Macmillan, Cham.