{"title":"贝克特是埃及剧作家的缪斯","authors":"A. ElHalawani","doi":"10.1163/18757405-03102003","DOIUrl":null,"url":null,"abstract":"\n In 1962, Beckett’s theatre debuted in Egypt and, ever since, it has inspired Egyptian playwrights. This paper examines how two Egyptian writers engaged with Beckett’s Waiting for Godot, as an example of both Beckett’s work and so-named absurdist theater, revealing it to have more potential for political and social engagement than traditionally understood. Masir Sursar [Fate of a Cockroach] by Tawfiq Al-Hakim and Musafir Layl [Night Traveller] by Salah Abdul Saboor make a good case study of these effects.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Beckett as Muse for Egyptian Playwrights\",\"authors\":\"A. ElHalawani\",\"doi\":\"10.1163/18757405-03102003\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n In 1962, Beckett’s theatre debuted in Egypt and, ever since, it has inspired Egyptian playwrights. This paper examines how two Egyptian writers engaged with Beckett’s Waiting for Godot, as an example of both Beckett’s work and so-named absurdist theater, revealing it to have more potential for political and social engagement than traditionally understood. Masir Sursar [Fate of a Cockroach] by Tawfiq Al-Hakim and Musafir Layl [Night Traveller] by Salah Abdul Saboor make a good case study of these effects.\",\"PeriodicalId\":53231,\"journal\":{\"name\":\"Samuel Beckett Today/Aujourd''hui\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2019-10-24\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Samuel Beckett Today/Aujourd''hui\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1163/18757405-03102003\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERARY THEORY & CRITICISM\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Samuel Beckett Today/Aujourd''hui","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1163/18757405-03102003","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERARY THEORY & CRITICISM","Score":null,"Total":0}
引用次数: 0
摘要
1962年，贝克特的剧院在埃及首次亮相，从那时起，它就激发了埃及剧作家的灵感。本文考察了两位埃及作家是如何参与贝克特的《等待戈多》的，作为贝克特的作品和所谓的荒诞主义戏剧的一个例子，揭示了它比传统上理解的具有更多的政治和社会参与潜力。Tawfiq Al-Hakim的Masir Sursar[蟑螂的命运]和Salah Abdul Saboor的Musafir Layl[夜间旅行者]都是研究这些影响的好例子。
In 1962, Beckett’s theatre debuted in Egypt and, ever since, it has inspired Egyptian playwrights. This paper examines how two Egyptian writers engaged with Beckett’s Waiting for Godot, as an example of both Beckett’s work and so-named absurdist theater, revealing it to have more potential for political and social engagement than traditionally understood. Masir Sursar [Fate of a Cockroach] by Tawfiq Al-Hakim and Musafir Layl [Night Traveller] by Salah Abdul Saboor make a good case study of these effects.
京公网安备 11010802042870号
京ICP备2023020795号-1
分享
求助内容：
应助结果提醒方式：
扫码关注我们
