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Abstract
The paper proposes that understanding the treatment of the scene in the Beckettian language involves distancing itself from conventionalisms that canonize theatrical forms, moving away from the traditionally established and delving into a transgressing scenic language, fragmented, dissonant, overrun with chiaroscuros, a presence representing emptiness and a silence that stuns the senses. In addition, it formulates that conceiving the Beckettian staging commits the creators to gather in the subjectivity of Beckett, penetrate those most relevant facts of his life, know his main influences, his particular tastes for art, his frenetic obsession with certain actors of his day and, above all, realizing the political and social context in which he conceived his work. It is argued that little is known about the type of actor Beckett was looking for to play those strange characters laden with tensions and opposites present in his written pieces; but, understanding the nature of his work, his artistic visions, the dark, melancholy and existential features of his personality, it is argued that for Beckett the ideal actor was a dynamic, purposeful actor, open to the possibilities of creation and that he did not restricted by the treatment and needs of his work. Beckett was looking for an actor with a virtuous body fit for the scene, with a harmonious voice and a concise and accurate performance. Also, it is noted Beckett’s attraction to those skilled actors, with a perfect handling of his gestures, with an expanded and dilated presence on the scene, with political and ethical ideals, with clear objectives regarding art and life. A type of activist actor, ready for denunciation and criticism. But, the most important thing, Beckett sought out that human being disciplined and dedicated to what he does, with a balance between technique and expressiveness, where his talent is the result of efforts, discipline, love for art and lived experience.
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References
Iglesia, A. M. (2011). Samuel Beckett: la inaprehensibilidad de un sentido no trascendente. Universitat Pompeu Fabra. España. Recuperado de http://diposit.ub.edu/dspace/bitstream/2445/104048/1/621414.pdf
Libros Tauro. (s.f.). Prólogo. Los Días Felices. Samuel Beckett. Recuperado de http://www. librostauro.com.ar
López, P. (2008). Samuel Beckett. Universidad Nacional Autónoma de México, Coordinación de Difusión Cultural, Dirección de Literatura, México. Recuperado de http://www.materialdelectura.unam.mx/images/stories/pdf5/samuel-beckett.pdf
