Hello friends,
Life is meaningful, but its value is made by us in our minds, and subject to change over time. The meaning of life, or the answer to the question: "What is the meaning of life?", pertains to the significance of living or existence in general. Many other related questions include: "Why are we here?", "What is life all about?", or "What is the purpose of existence?" This all questions leads us to answer the question that it is ‘meaningless’
Now question raises…
What is meaninglessness?
This meaninglessness does not mean ‘lack of meaning’. Here, nothingness itself becomes something.
Theatre of Absurd
The Theatre of the Absurd' is a term coined by the critic Martin Esslin for the work of a number of playwrights, mostly written in the 1950s and 1960s. The term is derived from an essay by the French philosopher Albert Camus.
In the Theater of the Absurd, multiple artistic features are used to express tragic theme with a comic form. The features include anti-character, anti-language, anti-drama and anti-plot. of the Absurd regard their own personalities as a formal case.
In philosophy, "the Absurd" refers to the conflict between the human tendency to seek inherent value and meaning in life and the human inability to find any. ... In this context absurd does not mean "logically impossible", but rather "humanly impossible".
Interpretation of 'Breathe'
Why should the breaths be recorded rather than live?
In his script, Beckett specifies that each breath should be an amplified recording. Recorded breath is different to live breath in two important ways: it is not directly connected to a body and it is not visible (only audible).
But is live breath really connected to a body?
And can we see it?
By using recorded breath, Beckett makes philosophical issues concerning live breath more apparent than they might have otherwise been – more apparent than if the breaths had been breathed by an on-stage actor. Whilst breath obviously exists in our lungs, it also exists outside of us, in the atmosphere. So breath is both embodied and disembodied, inside and outside. Also, by not tying the breaths to an individual, Beckett raises the point that breath is not the preserve of a single subject.
Despite its brevity, Breath is full with significance. Its simplicity allows room for readers of the script and viewers of the play to create their own meanings, to put flesh on Beckett’s bare bones. Given its title and content, the play provides an ideal starting point for explorations of the cultural meanings and philosophical dimensions of breath and breathing. Beckett’s script poses more questions than it answers; the queries thrown up by the text create fertile ground for investigation. This blog briefly considers a couple of these queries, raising, somewhat inevitably, further questions along the way.
Ruchi Joshi’s Adaption
The Theatre of the Absurd ... can be seen as the reflection of what seems to be the attitude most genuinely representative of our own time.  The hallmark of this attitude is its sense that the certitudes and unshakable basic assumptions of former ages have been swept away, that they have been tested and found wanting, that they have been discredited as cheap and somewhat childish illusions.
Martin Esslin
The Theatre of the Absurd has renounced arguing about the absurdity of the human condition; it merely presents it in being - that is, in terms of concrete stage images. This is the difference between the approach of the philosopher and that of the poet; the difference, to take an example from another sphere,
‘To look’ is at the very heart of the play. Constantly it try to have a stand yet one is unable. Looking into the mirror is actually very trivial though does this have any purpose or is purposeless only? One interesting this is, things looks quite better in mirror rather than their real places. There are two parts one can look at the same thing.
The camera angle helps the creator to establish different relationships between the subjects and even between the audience and the subjects. It's very important to master these techniques if you want to become a pro filmmaker!
“First the body. No. First the place. No. First both. Now either. Now the other. Sick of the either try the other. Sick of it back sick of the either. So on. Somehow on. Till sick of both. Throw up and go. Where neither. Till sick of there. Throw up and back. The body again. Where none. The place again. Where none. Try again. Fail again. Better again. Or better worse. Fail worse again. Still worse again. Till sick for good. Throw up for good. Go for good. Where neither for good. Good and all.”
Here in this video camera angle plays very significant role as first it suddenly enters into the room and flashes on first on wires and then other various fallen upon dressing table.
Scholar and other philosophers associated mirrors with thought because it is a mental instrument that is the reflection of the universe and enables you to observe yourself.
Closing of camera focuses on web cam and nail polish, suggests forceful representation of social language for women. There are a lot many things which helps us in looking the things yet plays very significant role as even barrier.
Ultimately it leads us to a question that,
What the use of these entire things?
Can’t we breathe if these are not there; does this creates any kind of difference?
Thus, it becomes quite true quoted by Esslin,
The dignity of man lies in his ability to face reality in all its meaninglessness.
Thank you.
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