The Complete Dramatic Works (37 page)
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Authors: Samuel Beckett
A mime for two players
Written, according to Beckett, at about the same time as
Act
Without
Words
I
(1956). Translated from the French by the author and first published in
New
Departures,
vol. 1 (Summer, 1959). First performed probably at the Institute of Contemporary
Arts, London, on 25 January 1960.
NOTE
This mime should be played on a low and narrow platform at back of stage, violently
lit in its entire length, the rest of the stage being in darkness. Frieze effect.
A is slow, awkward (gags dressing and undressing), absent. B brisk, rapid, precise.
The two actions therefore, though B has more to do than A, should have approximately
the same duration.
ARGUMENT
Beside each other on ground, two yards from right wing, two sacks, A’s and B’s, A’s
being to right (as seen from auditorium) of B’s, i.e. nearer right wing. On ground
beside sack B a little pile of clothes (C) neatly folded (coat and trousers surmounted
by boots and hat).
Enter goad right, strictly horizontal. The point stops a foot short of sack A. Pause.
The point draws back, pauses, darts forward into sack, withdraws, recoils to a foot
short of sack. Pause. The sack does not move. The point draws back again, a little
further than before, pauses, darts forward again into sack, withdraws, recoils to
a foot short of sack. Pause. The sack moves. Exit goad.
A, wearing shirt, crawls out of sack, halts, broods, prays, broods, gets to his feet,
broods, takes a little bottle of pills from his shirt pocket, broods, swallows a pill,
puts bottle back, broods, goes to clothes, broods, puts on clothes, broods, takes
a large partly-eaten carrot from coat pocket, bites off a piece, chews an instant,
spits it out with disgust, puts carrot back, broods, picks up two sacks, carries them
bowed and staggering
half-way to left wing, sets them down, broods, takes off clothes (except shirt), lets
them fall in an untidy heap, broods, takes another pill, broods, kneels, prays, crawls
into sack and lies still, sack A being now to left of sack B.
Pause.
Enter goad right on wheeled support (one wheel). The point stops a foot short of sack
B. Pause. The point draws back, pauses, darts forward into sack, withdraws, recoils
to a foot short of sack. Pause. The sack moves. Exit goad.
B, wearing shirt, crawls out of sack, gets to his feet, takes from shirt pocket and
consults a large watch, puts watch back, does exercises, consults watch, takes a tooth
brush from shirt pocket and brushes teeth vigorously, puts brush back, rubs scalp
vigorously, takes a comb from shirt pocket and combs hair, puts comb back, consults
watch, goes to clothes, puts them on, consults watch, takes a brush from coat pocket
and brushes clothes vigorously, brushes hair vigorously, puts brush back, takes a
little mirror from coat pocket and inspects
appearance
, puts mirror back, takes carrot from coat pocket, bites off a piece, chews and swallows
with appetite, puts carrot back, consults watch, takes a map from coat pocket and
consults it, puts map back, consults watch, takes a compass from coat pocket and consults
it, puts compass back, consults watch, picks up two sacks and carries them bowed and
staggering to two yards short of left wing, sets them down, consults watch, takes
off clothes (except shirt), folds them in a neat pile, consults watch, does exercises,
consults watch, rubs scalp, combs hair, brushes teeth, consults and winds watch, crawls
into sack and lies still, sack B being now to left of sack A as originally.
Pause.
Enter goad right on wheeled support (two wheels). The point stops a foot short of
sack A. Pause. The point draws back, pauses, darts forward into sack, withdraws, recoils
to a foot short of sack. Pause. The sack does not move. The point draws back again,
a little further than before, pauses, darts forward again into sack, withdraws, recoils
to a foot short of sack.
Pause. The sack moves. Exit goad.
A crawls out of sack, halts, broods, prays.
CURTAIN
Written in English in early 1958. First published in
Evergreen
Review
(Summer 1958). First performed at the Royal Court Theatre, London, on 28 October
1958.
A
late
evening
in
the
future.
KRAPP’S
den.
Front
centre
a
small
table
,
the
two
drawers
of
which
open
towards
the
audience.
Sitting
at
the
table,
facing
front,
i.e.
across
from
the
drawers,
a
wearish
old
man:
KRAPP
.
Rusty
black
narrow
trousers
too
short
for
him.
Rusty
black
sleeveless
waistcoat,
four
capacious
pockets.
Heavy
silver
watch
and
chain.
Grimy
white
shirt
open
at
neck,
no
collar.
Surprising
pair
of
dirty
white
boots,
size
ten
at
least,
very
narrow
and
pointed.
White
face.
Purple
nose.
Disordered
grey
hair.
Unshaven.
Very
near-sighted
(but
unspectacled).
Hard
of
hearing.
Cracked
voice.
Distinctive
intonation.
Laborious
walk.
On
the
table
a
tape-recorder
with
microphone
and
a
number
of
cardboard
boxes
containing
reels
of
recorded
tapes.
Table
and
immediately
adjacent
area
in
strong
white
light.
Rest
of
stage
in
darkness.
KRAPP
remains
a
moment
motionless,
heaves
a
great
sigh,
looks
at
his
watch,
fumbles
in
his
pockets,
takes
out
an
envel
ope
,
puts
it
back,
fumbles,
takes
out
a
small
bunch
of
keys,
raises
it
to
his
eyes,
chooses
a
key,
gets
up
and
moves
to
front
of
table.
He
stoops,
unlocks
first
drawer,
peers
into
it,
feels
about
inside
it,
takes
out
a
reel
of
tape,
peers
at
it,
puts
it
back,
locks
drawer,
unlocks
second
drawer,
peers
into
it,
feels
about
inside
it,
takes
out
a
large
banana,
peers
at
it,
locks
drawer,
puts
keys
back
in
his
pocket.
He
turns,
advances
to
edge
of
stage,
halts,
strokes
banana,
peels
it,
drops
skin
at
his
feet,
puts
end
of
banana
in
his
mouth
and
remains
motionless,
staring
vacuously
before
him.
Finally
he
bites
off
the
end,
turns
aside
and
begins
pacing
to
and
fro
at
edge
of
stage,
in
the
light,
i.e.
not
more
than
four
or
five
paces
either
way,
meditatively
eating
banana.
He
treads
on
skin,
slips,
nearly
falls,
recovers
himself,
stoops
and
peers
at
skin
and
finally
pushes
it,
still
stooping,
with
his
foot
over
edge
of
stage
into
pit.
He
resumes
his
pacing,
finishes
banana,
returns
to
table,
sits
down,
remains
a
moment
motion
less,
heaves
a
great
sigh,
takes
keys
from
his
pockets,
raises
them
to
his
eyes,
chooses
key,
gets
up
and
moves
to
front
of
table,
unlocks
second
drawer,
takes
out
a
second
large
banana,
peers
at
it,
locks
drawer,
puts
back
keys
in
his
pocket,
turns,
advances
to
edge
of
stage,
halts,
strokes
banana,
peels
it,
tosses
skin
into
pit,
puts
end
of
banana
in
his
mouth
and
remains
motionless,
staring
vacuously
before
him.
Finally
he
has
an
idea,
puts
banana
in
his
waistcoat
pocket,
the
end
emerging,
and
goes
with
all
the
speed
he
can
muster
backstage
into
dark
ness.
Ten
seconds.
Loud
pop
of
cork.
Fifteen
seconds.
He
comes
back
into
light
carrying
an
old
ledger
and
sits
down
at
table.
He
lays
ledger
on
table,
wipes
his
mouth,
wipes
his
hands
on
the
front
of
his
waistcoat,
brings
them
smartly
together
and
rubs
them.
KRAPP:
[
Briskly
.]
Ah! [
He
bends
over
ledger,
turns
the
pages,
finds
the
entry
he
wants,
reads.
] Box … thrree … spool … five. [
He
raises
his
head
and
stares
front.
With
relish.
] Spool! [
Pause
.]
Spooool! [
Happy
smile.
Pause.
He
bends
over
table,
starts
peering
and
poking
at
the
boxes.
]
Box … thrree … thrree … four … two … [
with
surprise
]
nine! good God! … seven … ah! the little rascal! [
He
takes
up
box,
peers
at
it.
]
Box thrree. [
He
lays
it
on
table,
opens
it
and
peers
at
spools
inside.
]
Spool … [
he
peers
at
ledger
] … five … [
he
peers
at
spools
]
… five … five … ah! the little scoundrel! [
He
takes
out
a
spool,
peers
at
it.
] Spool five. [
He
lays
it
on
table,
closes
box
three,
puts
it
back
with
the
others,
takes
up
the
spool
]
Box thrree, spool five. [
He
bends
over
the
machine,
looks
up.
With
relish
.]
Spooool! [
Happy
smile.
He
bends,
loads
spool
on
machine,
rubs
his
hands.
]
Ah! [
He
peers
at
ledger,
reads
entry
at
foot
of
page.
]
Mother at rest at last…. Hm…. The black ball…. [
He
raises
his
head,
stares
blankly
front.
Puzzled.
] Black ball? … [
He
peers
again
at
ledger,
reads.
] The dark nurse…. [
He
raises
his
head,
broods,
peers
again
at
ledger,
reads.
]
Slight improvement in bowel condition. … Hm…. Memorable…. what? [
He
peers
closer.
] Equinox, memorable equinox. [
He
raises
his
head,
stares
blankly
front.
Puzzled.
]
Memorable equinox? … [
Pause.
He
shrugs
his
shoulders,
peers
again
at
ledger,
reads.
] Farewell to–[
he
turns
page
]
–
love.
[
He
raises
his
head,
broods,
bends
over
machine,
switches
on
and
assumes
listening
posture,
i.
e.
leaning
forward,
elbows
on
table,
hand
cupping
ear
towards
machine,
face
front
.]
TAPE:
[
Strong
voice,
rather
pompous,
clearly
Krapp’s
at
a
much
earlier
time.
]
Thirty-nine today, sound as a–[
Settling
himself
more
comfortably
he
knocks
one
of
the
boxes
off
the
table,
curses,
switches
off
sweeps
boxes
and
ledger
violently
to
the
ground,
winds
tape
back
to
beginning,
switches
on,
resumes
posture.
]
Thirty-nine today, sound as a bell, apart from my old weakness, and intellectually
I have now every reason to suspect at the… [
hesitates
] … crest of the wave–or thereabouts. Celebrated the awful occasion, as in recent
years, quietly at the
Wine-house
. Not a soul. Sat before the fire with closed eyes, separating the grain from the
husks. Jotted down a few notes, on the back of an envelope. Good to be back in my
den, in my old rags. Have just eaten I regret to say three bananas and only with difficulty
refrained from a fourth. Fatal things for a man with my condition. [
Vehemently
.]
Cut’em out! [
Pause
.]
The new light above my table is a great improvement. With all this darkness round
me I feel less alone. [
Pause
]
In a way. [
Pause.
]
I love to get up and move about in it, then back here to … [
hesitates
]
… me. [
Pause.
]
Krapp.
[
Pause.
]
The grain, now what I wonder do I mean by that, I mean … [
hesitates
] … I suppose I mean those things worth having when all the dust has–when all
my
dust has settled.
I close my eyes and try and imagine them.
[
Pause.
KRAPP
closes
his
eyes
briefly.
]
Extraordinary silence this evening, I strain my ears and do not hear a sound. Old
Miss McGlome always sings at this hour. But not tonight. Songs of her girlhood, she
says. Hard to think of her as a girl. Wonderful woman though. Connaught, I fancy.
[
Pause.
]
Shall I sing when I am her age, if I ever am? No. [
Pause.
]
Did I sing as a boy? No. [
Pause
.]
Did I ever sing? No.
[
Pause.
]
Just been listening to an old year, passages at random. I did not check in the book,
but it must be at least ten or twelve years ago. At that time I think I was still
living on and off with Bianca in Kedar Street. Well out of that, Jesus yes! Hopeless
business. [
Pause
.]
Not much about her, apart from a tribute to her eyes. Very warm. I suddenly saw them
again. [
Pause
.]
Incomparable! [
Pause
.]
Ah well…. [
Pause.
]
These old P.M.s are gruesome, but I often find them
–
[
KRAPP
switches
off,
broods,
switches
on.
]
–
a
help before embarking on a new … [
hesitates
]
… retrospect. Hard to believe I was ever that young whelp. The voice! Jesus! And
the aspirations! [
Brief
laugh
in
which
KRAPP
joins
.]
And the resolutions! [
Brief
laugh
in
which
KRAPP
joins
.]
To drink less, in particular. [
Brief
laugh
of
KRAPP
alone
.]
Statistics. Seventeen hundred hours, out of the preceding eight thousand odd, consumed
on licensed premises alone. More than 20 per cent, say 40 per cent of his waking life.
[
Pause.
]
Plans for a less … [
hesitates
]
… engrossing sexual life. Last illness of his father. Flagging pursuit of happiness.
Unattainable laxation. Sneers at what he calls his youth and thanks to God that it’s
over. [
Pause.
]
False ring there. [
Pause.
]
Shadows of the opus … magnum. Closing with a–[
brief
laugh
]
–
yelp to
Providence
. [
Prolonged
laugh
in
which
KRAPP
joins
.]
What remains of all that misery? A girl in a shabby green coat, on a railway-station
platform? No?
[
Pause.
]
When I look–
[
KRAPP
switches
off,
broods,
looks at
his
watch,
gets
up,
goes
backstage
into
darkness.
Ten
seconds.
Pop
of
cork.
Ten
seconds.
Second
cork.
Ten
seconds.
Third
cork.
Ten
seconds.
Brief
burst
of
quavering
song.
]
KRAPP:
[
Sings.
]
Now the day is over,
Night is drawing nigh-igh,
Shadows–
[
Fit of coughing. He comes back into light, sits
down,
wipes
his
mouth,
switches
on,
resumes
his
listening
posture.
]
TAPE:
–back on the year that is gone, with what I hope is
perhaps
a glint of the old eye to come, there is of course the house on the canal where mother
lay a-dying, in the late autumn, after her long viduity [
KRAPP
gives
a
start
]
and the
–
[
KRAPP
switches
off,
winds
back
tape
a
little,
bends
his
ear
closer
to
machine,
switches
on
]–a-dying, after her long viduity, and the–
[
KRAPP
switches
off,
raises
his
head,
stares
blankly
before
him.
His
lips
move
in
the
syllables
of
‘viduity
’
.
No
sound.
He
gets
up,
goes
backstage
into
darkness,
comes
back
with
an
enormous
dictionary,
lays
it
on
table,
sits
down
and
looks
up
the
word.
]
KRAPP:
[
Reading from
dictionary.
]
State
–
or condition–of being–or remaining–a widow–or widower. [
Looks
up.
Puzzled.
]
Being–or remaining? … [
Pause.
He
peers
again
at
dictionary.
Reading.
]
‘Deep weeds of viduity.’ … Also of an animal, especially a bird … the vidua or
weaver-bird
…. Black plumage of male…. [
He
looks
up.
With relish
.]
The vidua-bird!
[
Pause.
He
closes
dictionary,
switches
on,
resumes
listening posture.
]
TAPE:
–bench by the weir from where I could see her window. There I sat, in the biting
wind, wishing she were gone. [
Pause.
]
Hardly a soul, just a few regulars, nursemaids, infants, old men, dogs. I got to
know them quite well–oh by appearance of course I mean! One dark young beauty I recollect
particularly, all white and starch, incomparable bosom, with a big black hooded perambulator,
most funereal thing. Whenever I looked in her direction she had her eyes on me. And
yet when I was bold enough to speak to her–not having been introduced–she threatened
to call
a policeman. As if I had designs on her virtue! [
Laugh.
Pause.
]
The face she had! The eyes! Like… [
hesitates
] … chrysolite! [
Pause.
]
Ah well…. [
Pause.
]
I was there when–[
KRAPP
switches
off,
broods,
switches
on
again.
]–the blind went down, one of those dirty brown roller affairs, throwing a ball for
a little white dog as chance would have it. I happened to look up and there it was.
All over and done with, at last. I sat on for a few moments with the ball in my hand
and the dog yelping and pawing at me. [
Pause.
]
Moments. Her moments, my moments. [
Pause.
]
The dog’s moments. [
Pause.
]
In the end I held it out to him and he took it in his mouth, gently, gently. A small,
old, black, hard, solid rubber ball. [
Pause.
]
I shall feel it, in my hand, until my dying day. [
Pause.
]
I might have kept it. [
Pause.
]
But I gave it to the dog.
[
Pause
.]
Ah well….
[
Pause.
]
Spiritually a year of profound gloom and indigence until that memorable night in March,
at the end of the jetty, in the howling wind, never to be forgotten, when suddenly
I saw the whole thing. The vision at last. This I fancy is what I have chiefly to
record this evening, against the day when my work will be done and perhaps no place
left in my memory, warm or cold, for the miracle that… [
hesitates
] …for the fire that set it alight. What I suddenly saw then was this, that the belief
I had been going on all my life, namely–[
KRAPP
switches
off
impatiently
,
winds
tape
for
ward,
switches
on
again
]
–
great
granite rocks the foam flying up in the light of the lighthouse and the wind-gauge
spinning like a propeller, clear to me at last that the dark I have always struggled
to keep under is in reality my most–[
KRAPP
curses,
switches
off,
winds
tape
forward,
switches
on
again
]–unshatterable association until my dissolution of storm and night with the light
of the understanding and the fire–[
KRAPP
curses
louder,
switches
off,
winds
tape
forward,
switches
on
again
]–my face in her breasts and my hand on her. We lay there without moving. But under
us all moved, and moved us, gently, up and down, and from side to side.