Das letzte Band (Krapp’s laste tape)ist ein Einakter des irischen Schriftstellers Samuel Beckett. Es ist mit nur einer Figur besetzt und wurde ursprünglich für den Schauspieler Partrick Magee geschrieben und hieß zunächst Magee Monologue („Magee-Monolog“). Beckkett wurde dazu inspiriert, als er Magee Auszüge aus seinem Roman Molloy und den Kurzprosatext From an Abandoned Work („Aus einer abgebrochenen Arbeit“) im Dritten Programm des BBC im Dezember 1957 hatte lesen hören. ^[1]

Das Stück erlebte seine Uraufführung als Einlage vor Becketts Stück Endspiel am Royal Court Theatre in London in der Inszenierung von Donald McWhinnie mit Patrick Magee als Krapp-Darsteller. Diese Inszenierung wurde vom 28. Oktober bis 29. November 1958 38 mal aufgeführt.

Im März 1958 schrieb Beckett einen Brief an Jake Schwartz, einen Londoner Buchhändler, in dem er sagte, er habe

On 15 March 1958 Beckett wrote a letter to a bookseller in London, Jake Schwartz, saying that he had "'four states, in typescript, with copious notes and dirty corrections, of a short stage monologue I have just written (in English) for Pat Magee. This was composed on the machine from a tangle of old notes, so I have not the MS to offer you."^[2]

According to Ackerley and Gontarski, "It was first published in Evergreen Review 2.5 (summer 1958) … then in Krapp’s Last Tape and Embers (Faber, 1959), and Krapp’s Last Tape and Other Dramatic Pieces (Grove, 1960)."^[3] Beckett’s own translation of the play into French, La Dernière Bande, was published in Les Lettres Nouvelles on 4 March 1959.

The available printed texts must not be taken as definitive. "By the mid-1950s Beckett was already talking and working like a director … In a letter to Rosset’s editorial assistant, Judith Schmidt, 11th May 1959, Beckett referred to the staging of Krapp’s Last Tape as its 'creation'," and he made numerous significant changes to the text over the years as he was involved in directing the play.^[4]

The first American performance, on 14 January 1960, was directed by Alan Schneider and starred Donald Davis.

The curtain rises on "[a] late evening in the future."^[5] It is Krapp’s sixty-ninth birthday and, as has become his custom, he hauls out his old tape recorder, reviews one of the earlier years – in this case the recording he made when he was thirty-nine – and makes a new recording commenting on the events of the previous twelve months. He is described in the text as a "wearish old man."^[6] "I saw Krapp small and wizened," he wrote later; "Krapp has nothing to talk to but his dying self and nothing to talk to him but his dead one."^[7]

In early productions he had a white face with a purple nose but these details were excised from later performances. "Beckett has been extremely wary of over stressing the clownish elements in Krapp’s physique, dress and behaviour. Even in the first production at the Royal Court Theatre, the purple nose of the ‘tippler,’ which is referred to in the printed text, was much toned down and has since been abandoned by Beckett."^[8] The "[s]urprising pair of dirty white boots, size ten at least, very narrow and pointed,"^[9] suggesting an "ex-dandy rather than the former cricketer,"^[10] survived longer; such little clues may indicate that, like Henry in Embers (another of Beckett’s failed writers), Krapp is a man of independent means and does not have to depend on his writing to survive.Vorlage:Facts

"When the plays that follow All That Fall begin, the 'action' in traditional terms has already taken place. From Krapp’s Last Tape onwards all that is left in most of the plays is recapitulation, a struggle with voices in the head, and a masochism that both demands and dreads the assault of memory."^[11]

Krapp is sitting at his desk in his den. There is a white light above the desk but the extremities of the stage are in darkness. This black and white imagery continues throughout the whole play; in fact, Beckett’s Berlin "notebook lists no less than twenty-seven points in the play at which the alternation of light and dark is stressed."^[12] Twice throughout the play he turns and peers into the darkness. Beckett explained to Martin Held at rehearsal in Berlin: "Old Nick’s there. Death is standing behind him and unconsciously he's looking for it."^[13]

He checks his pocket watch periodically as if waiting for the exact moment when he was born before he can begin. Before he starts he has time for a banana, a fruit he has a terrible weakness for. He retrieves a large one from a locked drawer, strokes it – the sexual connotation obvious – peels it and nearly slips on the skin he drops on the floor. After finishing the first he locates a second. This time he throws the skin into the pit but he ends up not eating the banana which gets stuck into a pocket of his waistcoat, the end rudely hanging out. He decides on a drink instead and shuffles into the darkness to get one. Done with that he returns with an old ledger.

On his desk are an old reel-to-reel tape-recorder and a number of tins (originally cardboard boxes) containing reels of recorded tape. In some productions the desk is empty at first and he brings out the tapes and recorder after the ledger. He consults the ledger. The tape he is looking to review is the fifth tape in Box 3. He reads aloud from the ledger but it is obvious that words alone are not jogging his memory. He takes childish pleasure in saying the word ‘spool’ – a moment of genuine pleasure.

The tape we get to listen to along with Krapp is the one recorded when he turned thirty-nine. The voice on the tape is strong and rather self-important but it’s clearly him. As he settles himself in his seat Krapp accidentally knocks one of the tins on the floor. He curses, switches off the playback, sweeps the remaining tins onto the floor before rewinding the tape to begin again.

The voice on the tape mentions the fact that he’s just celebrated his birthday alone "at the wine house" jotting down notes in preparation for the recording session later. In earlier drafts the place was peopled but Beckett progressively emptied the play of all but the most essential characters. The voice confesses to having consumed three bananas and only just resisted the urge to eat a fourth. His bowel trouble is still a problem and one obviously exacerbated by eating too many bananas. "The new light above my table is a great improvement,"^[14] reports the thirty-nine-year-old Krapp, before describing how much he enjoys leaving it, wandering off into the darkness, so that he can return to the zone of light which he identifies with his essential self. He notes how quiet the night is. Even his neighbour, the elderly Mrs. McGlome, who habitually sings in the evenings, is silent.

The voice reports that he has just reviewed an old tape from when he was in his late twenties. It amuses him to comment on his impressions of what he was like in his twenties and even the sixty-nine-year-old Krapp joins in the derisory laughter. The young man he was back then is described as idealistic, even unrealistic in his expectations. The thirty-nine-year-old Krapp looks back on the twenty-odd-year-old Krapp with the same level of contempt as the twenty-odd-year-old Krapp appears to have displayed for the young man he saw himself for in his late teens. Each can see clearly the fool he was but only time will reveal what kind of fool he has become.

The taped voice continues with a review of his last year. This was the year his mother died. He talks about sitting on a bench outside the nursing home waiting for the news that she had passed away. When the moment comes he is in the process of throwing a rubber ball to a dog. He ends up simply leaving the ball with the creature even though a part of him regrets not hanging onto it as some kind of memento. Krapp at sixty-nine is more interested in his younger self’s use of the rather archaic word "viduity" (Beckett had originally used "widowhood" in early drafts) than in the reaction of the voice on the tape to their mother’s passing. He stops listening to look up the word in a large dictionary.

Done with that he returns to the tape. The voice starts to describe the revelation he experienced at the end of a pier. "The dark that Krapp has always struggled to keep under is, one may guess, in reality his most valuable subject-matter and, in particular, his greatest source of enlightenment."^[15] Krapp grows impatient and gets worked up when his younger self starts enthusing about this. He fast-forwards almost to the end of the tape to escape the onslaught of words. Suddenly the mood has changed and he finds himself in the middle of a description of a romantic liaison between him and a woman in a punt. Krapp lets it play out and then rewinds the tape to hear the complete episode. Throughout it he remains transfixed and visibly relives the moment while it is retold.

Afterwards, Krapp carefully removes this tape, locates a fresh one, loads it, checks the back of an envelope where he has made notes earlier, discards them and starts. He is scathing when it comes to his assessment of his thirty-nine-year-old self and is glad to see the back of him. He finds he has nothing he wants to record for posterity, save the fact he "Revelled in the word spool."^[16] But he does mention a trip to the park and attending Vespers where he dozed off and fell off the pew. He also mentions his recent literary disappointments: "seventeen copies sold", presumably of his last book, eleven of which have gone not to interested readers but to foreign libraries; "Getting known," he sarcastically summarizes. His sex life has been reduced to periodic visits by an old prostitute recalling the jibes made in Eh Joe: "That slut that comes on Saturday, you pay her, don't you? ... Penny a hoist tuppence as long as you like."^[17]

Unlike his younger selves, Krapp has nothing good to say about the man he has become and even the idea of making one "last effort"^[18] when it comes to his writing upsets him. He retreats into memories from his dim and distant past, gathering holly and walking the dog of a Sunday morning. He then remembers the girl on the punt, wrenches off the tape he has been recording, throws it away and replays the entire section again from the previous tape. It is a scene of masochism reminiscent of Croak in Words and Music, tormenting himself with an image of a woman’s face. This time he allows the tape to play out. It ends with the thirty-nine-year-old Krapp determinately not regretting the choices he has made, certain that what he would produce in the years to come would more than compensate him for any potential loss of happiness.

Krapp makes no response to this but allows the tape to play on until the final curtain. "Krapp’s spool of life is almost wound, and the silent tape is both the time it has left to run and the silence into which he must pass."^[19] Whereas the younger Krapp talks about the "fire in me"^[20] the tired old man who sits listening is simply "burning to be gone."^[21] The title of the play seems obvious, that what we have witnessed is the recording of Krapp’s final tape, "yet there is an ambiguity: 'last' can mean 'most recent' as well as 'ultimate'. The speaker in Browning’s My Last Duchess is already planning to marry his next duchess … Still, one hopes for Krapp’s sake that he will be gone before another year is over."^[22]

In Waiting for Godot, Beckett uses aspects of Judeo-Christianity as the template for his play, in Film the template is the writings of Bishop Berkeley, and in Krapp’s Last Tape, according to Anthony Cronin, he uses Manichaenism as a structural device:

The dichotomy of light and dark … is central to Manichaean doctrine … Its adherents believed that the world was ruled by evil powers, against which the god of the whole of creation struggled as yet in vain … Krapp is in violation of the three seals or prohibitions of Manichaenism for the elect: the seal of the hands, forbidding engagement in a profession, the seal of the breast against sexual desire, and the seal of the mouth, which forbids the drinking of wine … Beckett [however] seems to have known no more about Manichaenism than is contained in the eleventh edition of the Encyclopædia Britannica, which he possessed.^[23]

Although there is only one person onstage, there are a number of 'characters' mentioned throughout. The play is considered to be Beckett at his most autobiographical, and it does draw heavily on biographical detail. He once told the actor Laurence Harvey though that his "work does not depend on experience – [it is] not a record of experience. Of course you use it."^[24] Beckett takes elements from his own life, his failed love life, his drinking, his – at the time – literary failures and looks where things might have gone. "When, in 1956, Vivian Mercier saw him in Paris, he told him that he felt 'all dried up, with nothing left but self-translation.'"^[25]

Krapp

Krapp was originally designated simply ‘A’ in the first draft. The first appearance of a title was "a manuscript edition to Typescript 2: Crapp’s Last Tape"^[26]; the more familiar Germanic spelling came later. The name Krapp with its excremental connotations had been used before by Beckett however. In his first play, Eleutheria, dating back to 1947, the protagonist is Victor Krap, a young man who has decided to retreat from life and do nothing. He has been described as a world-weary anti-hero, a failed writer and seedy solipsist, a clear prototype for the later Krapp.^[27]

Krapp (as a boy)

When the thirty-nine-year-old Krapp is talking about his neighbour’s ritual singing in the evening he tries to remember if he sang as a boy and is unable to do so. He does recall attending Vespers but it would be unusual for him to attend Evensong without participating in the singing of the hymn. Interestingly, the sixty-nine-year-old Krapp does sing a few lines from the "Now the Day is Over" in early performances of the play but Beckett excised this as being “too clumsily explicit”.^[28]

Although no time frame is given, it is likely that sixty-nine-year-old Krapp’s memories of being "again in the dingle at Christmas Eve, gathering holly … [or] on Croghan on a Sunday morning, in the haze, with the bitch"^[29] alludes to Beckett's own childhood familial memories.^[30][31]

Krapp (in his twenties)

His birth-sign in early drafts is given as Aries, Beckett’s own. All we learn about Krapp at this age comes from the tape. Like a lot of young men he is full of “aspirations” – his work is starting to take shape – and “resolutions” – he is already aware that his drinking needs to be curbed. He is becoming resigned to the fact that he might well have let true love – represented by the image of a “girl in a shabby green coat, on a railway-station platform” – get away from him. He has settled for an on/off relationship with a “Bianca” but even there his future plans do not feature her. We learn that his problem with constipation has been ongoing since at least this time. He disparages his youth and is glad it is over. The thirty-nine year old Krapp estimates that the tape he had been listening to was made some ten or twelve years earlier. If it was twelve then he would have been twenty-seven at the time it was recorded.

Bianca

"In the earlier drafts the woman with whom the young Krapp lived [later named "Bianca"] was first named 'Alba' (a character in Dream of Fair to Middling Women modelled on Ethna MacCarthy whom he had loved when he was a young man), then 'Celia' (the name of the green-eyed prostitute with whom Murphy cohabits in Murphy), then 'Furry' (nickname of Anne Rudmose-Brown, the wife of Beckett's French Professor at Trinity, who was himself satirized as 'the Polar Bear' in Dream of Fair to Middling Women)."^[32].

"He settled on "Bianca", who was most likely based on another lecturer, Bianca Esposito, who (along with Walter Starkie) taught him Italian and cultivated his lifelong passion for Dante. He took private lessons from Signorina Esposito as well. Those lessons at 21 Ely Place were then caricatured in the short story 'Dante and the Lobster'. Kedar Street is not a real location but an anagram of 'darke' or Hebrew for 'black'.^[33] Keeping this in mind, the name may simply have been selected because "bianca" means "white woman" in Italian. Little is recorded about her other than "'a tribute to her eyes. Very warm.'"^[34] Vivian Mercier, who knew Beckett personally, writes: "Although I do not recall his ever using the phrase, Beckett unquestionably regards the eyes as the windows of the soul."^[35]

Krapp's father

Krapp’s father, the only other man mentioned in the play, is spoken of only very briefly. The expression "Last illness" suggests he has not been a well man for some time and dies while Krapp is in his twenties. His own father, William Beckett, died of a heart attack on 26 June 1933, when Beckett was twenty-seven.Vorlage:Facts

The girl in the green coat

Beckett’s first love, his cousin, Peggy Sinclair, had "deep green eyes and [had a] passionate love of green clothing."^[36] An allusion to Peggy Sinclair also appears in Dream of Fair to Middling Women in Smeraldina, the "little emerald". Although the relationship is often cited as being a little one-sided, Beckett does recall: "Oh, Peggy didn’t need any chasing."^[37]

Krapp (aged 39)

This character does the majority of the talking throughout the play. His voice is contained on Tape 5 from Box 3. His voice is strong and rather pompous. He has celebrated his birthday alone in an empty wine house before returning home to consume three bananas. As has become his practice on his birthday he makes a tape looking back at who he was, assessing who he is and anticipating what might be to come. His is as disparaging of the young man he was in his twenties as he was then of the youth he had been thinking about when he made that earlier tape. He records the death of his mother, an epiphany at the end of a pier and an idyllic moment in a punt.

Old Mrs McGlome

This character is based on Miss Beamish, an eccentric novelist from Connacht whom Beckett had met in Roussillon, while hiding during World War II. “Whether the real Miss Beamish did actually sing regularly every evening is … debatable. Beckett did not remember this.”^[38]

The dark young beauty

There appears to be no direct correlation between this character and anyone living. The black and white imagery is strong here: her white uniform and the "big black hooded perambulator."^[39] Krapp also remembers this woman’s eyes as being "[l]ike … chrysolite!"^[40]

Rosemary Pountney observes Beckett changed "moonstone" to chrysolite, an olive-green coloured mineral, in Typescript 4.^[41]

She observes also that Beckett made "a direct connection ... with Othello, a play in which dark and light imagery is central," as "in the margin of the text that he used for the 1973 London production," on page 15 "where the word 'chrysolite' occurs ... he writes:

If heaven would make me such another world

Of one entire and perfect chrysolite
I’d not have sold her for it

Othello V2.

"Like Othello, too," Pountney continues, "Krapp has lost his love through his own folly."^[42]

Krapp's mother

Beckett’s mother, May, died on 25 August 1950 in the Merrion Nursing Home which overlooked Dublin’s Grand Canal. Beckett had made the trip over in the early summer to be with her. By 24 July medical opinion confirmed that she was dying. During that last long month he used "to walk disconsolately alone along the towpath of the Grand Canal."^[43]

Towards the end she was oblivious to his presence. Her death took place while he was sitting on a bench by the canal. "At a certain point he happened to look up. The blind of his mother’s window, a dirty red-brown affair, was down. She was dead."^[44] A drawn blind, an old custom signifying death, also makes an appearance in Rockaby: "let down the blind and down".^[45]

The little white dog

When Krapp’s mother died, he was throwing a ball for a little white dog. He says he will keep it forever: “But I gave it away to the dog.”^[46] Significantly the ball is black to contrast with the white of the dog. In All Strange Away a "small grey punctured rubber ball"^[47] is the last object contemplated before Fancy dies. The ball had already appeared in All That Fall: Jerry returns "a kind of ball"^[48] to Mr. Rooney. Although not an obvious symbol of death, this ball is a significant motif of childhood grief for Beckett though none of his biographers propose that the presence of the dog is anything more than artistic license.

The girl in the punt

Beckett makes the relationship of this woman to Krapp clear when “[i]n 1975, directing Pierre Chabert in Paris, Beckett said: “I thought of writing a play on the opposite situation, with Mrs Krapp, the girl in the punt, nagging away behind him, in which case his failure and his solitude would be exactly the same.”^[49] In her biography of Beckett, Deirdre Bair deduces that "the girl in the punt" may be Peggy Sinclair because of the references to "Effi" and to "the Baltic": in July 1929 Beckett vacationed with the Sinclairs "in one of the smaller resort towns along the Baltic Sea. Summer, traditionally the time for light reading, found Peggy tearfully engrossed in Theodor Fontane's novel, Effi Briest. Beckett read it too, but with less detachment than Peggy, who wept and suffered as Effi’s infidelity ended her marriage."^[50] Talking to James Knowlson, a few days before his death, Beckett said that he "did not remember the scene this way, however, denying that girl in the boat … had anything at all to do with his cousin, Peggy."^[51] Knowlson feels "that there is little doubt the source for the girl with the haunting eyes is Ethna MacCarthy. For, as Dream of Fair to Middling Women had made clear … the 'Alba', who, on Beckett’s own admission, was closely modelled on Ethna, had eyes like dark, deep pools."^[52] Beckett left no doubt however when he told Jean Martin, whilst rehearsing the play in 1970, that the girl was modelled on Ethna.^[53] On 11 December 1957 Beckett learned that Ethna was terminally ill and regularly wrote uncharacteristically long letters until her death. When he completed the play he wrote her: "I’ve written in English a stage monologue for Pat Magee which I think you will like if no one else."^[54]

At one point in the recollection, the young Krapp leans over the young woman to shade her from the sun. "Let me in," he says. This caused the Lord Chamberlain some concerns when the play was first presented before him to grant a license. He believed that what was being suggested was a desire for sexual penetration and was not convinced that Beckett was simply alluding to her eyes. It was not until a mere three weeks before the play’s opening that the objection was dropped. In 1982 Beckett, in response to a similar suggestion from one of James Knowlson’s postgraduate students, "said with a chuckle, 'Tell her to read her texts more carefully. She’ll see that Krapp would need to have a penis at an angle of a hundred and eighty degrees to make coitus possible in the position he is in!'"^[55]––a position that Rosette Lamont proposes also "suggests that of a suckling babe."^[56]

Krapp (aged 69)

Beckett would not be 69 until 1975 so, from his perspective, with Krapp a proxy for him, the action is set in the future.The first line of the play explicitly sets it 'in the future'^[57] , although nothing onstage reveals this. When Beckett finished this play he would have been 49 next. As it happens, with Waiting for Godot, success had found him but, at 39, the future must have seemed a lot bleaker for the writer, the Second World War was ending and all Beckett had had published were a few poems, a collection of short stories and the novel, Murphy. Beckett had this to say about the drained old man we see onstage: "Krapp sees very clearly that he’s through with his work, with love and religion."^[58] He told Rick Cluchey, whom he directed in 1977, that Krapp was "in no way senile [but has] something frozen about him [and is] filled up to his teeth with bitterness."^[59] "Habit, the great deadener"^[60] has proven more tenacious than inspiration. His "present concerns revolve around the gratification of those very bodily appetites that, earlier, he had resolved should be out of his life. Eating bananas and drinking have become a [daily routine]. Of the physical activities that he once considered excesses only sex has come to play a reduced part in his lonely existence"^[61] in the form of periodic visits from an old prostitute.

Although this is a play about memory, the sixty-nine-year-old Krapp himself remembers very little. Virtually all the recollections come from the tape. As evidenced most clearly in the novel Murphy, Beckett had a decent understanding of a variety of mental illnesses including Korsakoff’s Alcoholic Syndrome––"A hypomaniac teaching slosh to a Korsakow’s syndrome."^[62]––which is characterised by powerful amnesic symptoms accompanied by intestinal obstruction.

In his focus on chronic alcohol consumption, Narinder Kapur explains in Memory Disorders in Clinical Practice that it can lead to marked memory loss and generalised cognitive defects, as well as “disorientation for time and also place”. More recent memories are likely to be forgotten than remote memories, for "memory loss shows a temporal gradient with greater sparing of items from earlier years."^[63] Krapp's gathering of red-berried holly in the dingle could be an example of the "relatively intact remote memory"^[64] that preceded Krapp's apparent addiction to alcohol.

Krapp is not a textbook case. He is an individual with his own individual symptomology but he is more than a list of symptoms. Bananas contain pectin, a soluble fiber that can help normalise movement through the digestive tract and ease constipation. Bananas can also aggravate constripation especially in young children. It depends what the root cause of the problem is. They are also high in Vitamins A and C as well as niacin, riboflavin and thiamine and one of the root causes of Korsakoff's Syndrome is thiamine deficiency; eating bananas would be good for him. It is easy to get caught up in this kind of over-analysis to the detriment of the play as a whole. "[A]ttempts to demonstrate that Beckett’s characters conform to specific psychological syndromes so often turn into will-o-the-wisp pursuits. Certainly, Beckett would not deny that psychologists have offered very useful descriptions of mental activity. But their theories are typically no more than initial steps in an understanding of mental processes, fragmented bits of knowledge which should not be taken for universal principles."^[65] It is important to remember that Krapp has not simply forgotten his past but he has consciously and systematically rejected it as one way of reassuring himself that he has made the right decisions in "his yearly word letting."^[66]

Effi Briest

In the past year Krapp has been re-reading Fontane’s Effi Briest, "a page a day, with tears again," he says, "Could have been happy with her, up there on the Baltic…."^[67] Existing only on the printed page this fantasy woman is perhaps the most black and white of all Krapp’s women. Like the girl in the punt and the nursemaid mentioned earlier, perhaps to contrast with his inner fire, "Once again Beckett situates Krapp’s memory on some side near the water."^[68]

Fanny

Just as Krapp’s name is a vulgar pun, so is the name Beckett gave to the woman who visits him from time to time, whom he describes as a "bony old ghost of a whore."^[69] As Fanny is an "old ghost," all Krapp’s women are figuratively "ghosts, really, dependent for their existence on Krapp’s bitter-sweet recording of them," according to Katherine Worth.^[70]

"Fanny" is a slang British expression for the female genitals – woman reduced to a function. "Fanny" is also a commonly-used diminutive of Frances, and Beckett occasionally referred to his aunt, Frances "Cissie" Sinclair, as "Fanny."^[71]

Krapp refers to her visits as "better than a kick in the crutch."^[72] In the 1985 television version, Beckett changed this phrase to "better than the finger and the thumb,"^[73] an unambiguous reference to masturbation that would never escaped the British Lord Chamberlain in the fifties.

Krapp’s "vision at last", on the pier at Dún Laoghaire

In an earlier draft of the play Beckett "uses 'beacon' and 'anemometer' rather than 'lighthouse' and 'wind-gauge'. The anemometer on the East Pier of Dún Laoghaire was one of the world's first. [It is] widely regarded as a mirror reflection of Beckett’s own revelation. Yet it is different both in circumstance and kind."^[74]

"Beckett wrote to Richard Ellmann: 'All the jetty and howling wind are imaginary. It happened to me, summer 1945, in my mother’s little house, named New Place, across the road from Cooldrinagh.'"^[75]

He summarised what this experience signified for him:

I realised that Joyce had gone as far as one could in the direction of knowing more, [being] in control of one’s material. He was always adding to it; you only have to look at his proofs to see that. I realised that my own way was in impoverishment, in lack of knowledge and in taking away, in subtracting rather than in adding.^[76]

The tape recorder

Beckett has applied character to non-human elements in his plays before, e.g. the light in Play, the music in Words and Music. “Beckett instructed the actor Pierre Chabert in his 1975 Paris production of the play ‘to become as much as possible one body with the machine … The spool is his whole life.’”^[77] Krapp no longer owns the memories on the tapes. His mind is no longer capable of holding onto them. The recorder also serves as proxy. When John Hurt, as Krapp, is transfixed by the retelling of the events in the punt he literally cradles the machine as if it were the woman recalling Magee’s original performance; Beckett took pains to point this out to Alan Schneider, who was at the time preparing his own version of the play, in a letter dated 21 November 1958, and incorporated the gesture in future productions in which he was involved.^[78]

Later, on 4 January 1960, Beckett wrote a more detailed letter describing another unexpected revelation of that earlier performance, "the beautiful and quite accidental effect in London of the luminous eye burning up as the machine runs on in silence and the light goes down."^[79]

Beckett told Patrick Magee, the original Krapp, that his "voice was the one which he heard inside his mind. Thus it seems likely that the return to English was a matter of expediency because of the English-speaking actor."^[80]

Magee had a harsh, gravely voice which had little superficial charm but had a hypnotic effect on the listener … He was grey-haired but ageless and could combine debility with menace, as Beckett character with their suppressed violence often do … [H]e had developed a rather strange accent with only faint Irish overtones and prolonged vowel sounds, The general effect was strangely déclassé but still indubitably Irish and thus ideally fitted for the performance of Beckett … As an actor he had the good sense to see that one played Beckett for the weight and mood of the words and the situation without bothering about the ultimate philosophical import.^[81]

Datei:HaroldPinterKrappsLastTape.jpg

Co-Founder of the San Quentin Drama Workshop was directed by Beckett in 1977, Berlin.

Max Wall performed Krapp on a number of occasions, including London’s Greenwich Theatre (1975 - directed by Patrick Magee^[82]) and Riverside Studios (1986).

John Hurt performed the role of Krapp for the version directed by Atom Egoyan for the project Beckett on Film, which was broadcast on television in 2001 and available on DVD in the box set or individually.

Vorlage:See As part of the 50th anniversary season of the Royal Court Theatre, in October 2006, directed by Ian Rickson, English playwright Harold Pinter performed the role of Krapp in a sold-out limited run of nine performances to great critical acclaim.^[83][84][85]

Corin Redgrave performed the role of Krapp for BBC Radio 3 in 2006 a few months after he had sufffered a major heart attack. The production was rebroadcast on BBC Radio 3 on May 16, 2010 as part of a double bill with a 2006 production of Embers.

Brian Dennehy performed the roll of Krapp during the 2008 Stratford Shakespeare Festival and again in 2010 at the Goodman Theatre of Chicago, both times directed by Jennifer Tarver. The Beckett one-act was paired at both venues with Eugene O'Neill's Hughie (directed by Robert Falls), also a one-act, and also performed by Dennehy, in the lead role of Erie Smith. The show ran at the Goodman Theatre from January 16 through February 28, 2010. A Broadway run is also planned.^[86]

In April 2010 Irish actor Michael Gambon continued his relationship with both Beckett and the Gate Theatre when he returned to the Dublin stage as Krapp for a limited run which was followed by a transfer to London's West End.^[87]

Beckett opposed vehemently the transfer of some of his works from one medium to another, but he did not oppose such recordings of Krapp's Last Tape as much as he did others. For example, "A gramophone recording (New York: Spoken Arts #788, 1960), based on the original American production, was distributed by Argo (RG 220), and by HEAR, Home Educational Records, London (1964),"^[88] and "It was often adapted for television with his encouragement. The first BBC version was produced by Peter Luke, featuring Cyril Cusack (13th November 1963). Approached by Westdeutscher Rundfunk, Cologne, to permit a television version of his 1969 Schiller-Theatre Das letzte Band [the German title of the play], Beckett wrote a set of 'Suggestions for TV Krapp'", which "was broadcast [on] 28th October 1969."^[89]

The play has subsequently been broadcast on radio, turned into an opera (see below) and filmed as part of the Beckett on Film project and for the DVD of Pinter's Royal Court performance, both of which have been shown on television.

Vorlage:Citations missing There have been several musical adaptations of Krapp's Last Tape, most notably the opera Krapp, ou, La dernière bande by composer Marcel Mihalovici. American composer Earl Kim alludes to the work within her Gooseberries, she said (1967), part of the four-part cycle Exercises en Route. The Hungarian composer Gyula Csapó has created the work Krapp's Last Tape –after Samuel Beckett] (1975) loosely inspired by Beckett's play.^[90] This theatrical work is for a "violinist-actor," a tape recorder, four spotlights and a sine wave generator.^[91] In 1999, the English experimental composer, Michael Parsons, adapted Krapp's Last Tape for piano, two pre-recorded pianos, and voice on tape. The piece, specifically written for John Tilbury, was called Krapp Music.

The play was memorably parodied in the television sketch comedy The Fast Show, in which - as a reference to Max Wall - fictional music hall comedian Arthur Atkinson played a comically-more stoic version of Krapp.^[92] It is also the title of a track on Fredrik Thordendal's solo album Sol Niger Within. A prefiguring of the play, titled, "Krapp, 39" written and performed by Michael Laurence and directed by George Demas, premiered at the 2008 New York International Fringe Festival and begins its commercial run Off Broadway at The Soho Playhouse in New York City on January 13, 2009. The piece follows an actor's obsession with the character Krapp.

1. ↑ University of Reading Library MS 1227/7/7/1, zitiert nach James Knowlson, "Krapp's Last Tape: the evolution of a play", Journal of Beckett Studies 1.1.: "The first known holograph is contained in the Été 56 notebook in Reading University Library. It is headed Magee monologue and is dated 20 February 1958."
2. ↑ Letter to Jake Schwartz, a bookseller in London, as qtd. in Rosemary Pountney, Theatre of Shadows: Samuel Beckett’s Drama: 1956-1976 (Gerrards Cross: Colin Smythe, 1988) 136; the quoted letter is held at the Beckett Collection, Humanities Research Center, University of Texas at Austin, along with the typescript to which it refers.
3. ↑ C. J. Ackerley, and S. E. Gontarski, eds., The Faber Companion to Samuel Beckett (London: Faber and Faber, 2006) 302.
4. ↑ Stanley E. Gontarski, "Beckett in Performance" 200, in Lois Oppenheim, ed., Palgrave Advances in Samuel Beckett Studies (London: Palgrave, 2004).
5. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 55.
6. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 55.
7. ↑ Letter to Alan Schneider, 4 Jan. 1960, qtd. in M. Harmon, ed., No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge: Harvard UP, 1998) 61, 59.
8. ↑ James Knowlson, "Krapp's Last Tape: The Evolution of a Play, 1958-75", Journal of Beckett Studies 1 (Winter 1976): [page?].
9. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 55.
10. ↑ Vivian Mercier, Beckett/Beckett (London: Souvenir Press, 1990) 56.
11. ↑ Rosemary Pountney, Theatre of Shadows: Samuel Beckett’s Drama: 1956-1976 (Gerrards Cross: Colin Smythe, 1988) 194.
12. ↑ Anthony Cronin, Samuel Beckett: The Last Modernist (London: Flamingo, 1997) 486.
13. ↑ "Martin Held talks to Ronald Hayman, in The Times, Saturday Review, 25 Apr. 1970, as qtd. in James Knowlson and John Pilling, Frescoes of the Skull (London: John Calder, 1979) 82.
14. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 57
15. ↑ Vivian Mercier, Beckett/Beckett (London: Souvenir Press, 1990) 6.
16. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 62.
17. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 203.
18. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 63.
19. ↑ Rosemary Pountney, Theatre of Shadows: Samuel Beckett’s Drama: 1956-1976 (Gerrards Cross: Colin Smythe, 1988) 171.
20. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 63.
21. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 62.
22. ↑ Vivian Mercier, Beckett/Beckett (London: Souvenir Press, 1990) 184.
23. ↑ Anthony Cronin, Samuel Beckett: The Last Modernist (London: Flamingo, 1997) 485, 486.
24. ↑ Undated interview with Lawrence Harvey, qtd. in James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996) 371, 372.
25. ↑ Anthony Cronin, Samuel Beckett: The Last Modernist (London: Flamingo, 1997) 472
26. ↑ Rosemary Pountney, Theatre of Shadows: Samuel Beckett’s Drama: 1956-1976 (Gerrards Cross: Colin Smythe, 1988) 138.
27. ↑ Marius Buning (President, Dutch Samuel Beckett Society), Eleutheria Revisited, public lecture delivered at Teatro Quijano, Ciudad Real, Spain, 2 Dec. 1997.
28. ↑ James Knowlson, "Krapp's Last Tape: The Evolution of a play, 1958-75", Journal of Beckett Studies 1 (Winter 1976): 54.
29. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 63.
30. ↑ D. Katz, "Beckett's Measures: Principles of Pleasure in Molloy and First Love", Modern Fiction Studies 49.2 (Summer 2003): 246-260: "Collating the accounts of Beckett's two major recent biographers, it seems that in 1926 Beckett ran over and killed his mother's Kerry Blue bitch."
31. ↑ For a definition of dingle, see the free dictionary: "dingle", accessed 22 Sept. 2007: "a small wooded hollow"; cf. "dell" and "valley".
32. ↑ C. J. Ackerley, and Stanley E. Gontarski, eds., The Faber Companion to Samuel Beckett (London: Faber and Faber, 2006) 303
33. ↑ C. J. Ackerley, and Stanley E. Gontarski, eds., The Faber Companion to Samuel Beckett (London: Faber and Faber, 2006) 182.
34. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984), 58.
35. ↑ Mercier, V., Beckett/Beckett (London: Souvenir Press, 1990), p 131
36. ↑ Bair, D., Samuel Beckett: A Biography (London: Vintage, 1990), p 79
37. ↑ James Knowlson and E. Knowlson, eds, Beckett Remembering / Remembering Beckett (London: Bloomsbury, 2006) 37.
38. ↑ Interview with James Knowlson, July 1989, cited in James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996) 330, 331.
39. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 59.
40. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 59.
41. ↑ Rosemary Pountney, Theatre of Shadows: Samuel Beckett’s Drama: 1956-1976 (Gerrards Cross: Colin Smythe, 1988) 160.
42. ↑ Rosemary Pountney, Theatre of Shadows: Samuel Beckett’s Drama: 1956-1976 (Gerrards Cross: Colin Smythe, 1988) 139.
43. ↑ James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996) 382.
44. ↑ Anthony Cronin, Samuel Beckett: The Last Modernist (London: Flamingo, 1997) 407.
45. ↑ Cronin, citing Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 281.
46. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 60.
47. ↑ Samuel Beckett, "All Strange Away", in Beckett Short No 3 (London: Calder Publication [1976] 1999) 33.
48. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 38.
49. ↑ C. J. Ackerley and Stanley E. Gontarski, eds., The Faber Companion to Samuel Beckett (London: Faber and Faber, 2006) 303.
50. ↑ Deirdre Bair, Samuel Beckett: A Biography (London: Vintage, 1990) 91.
51. ↑ Interview with James Knowlson, 17th November 1989, qtd. in James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996) 443. From the emendations made by James Knowlson in Beckett Remembering / Remembering Beckett published in 2006, it appears that Beckett’s memory about those events could have been inaccurate.
52. ↑ Interview with James Knowlson, 13th September 1989, qtd. in James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996) 443.
53. ↑ James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996) 576.
54. ↑ Letter to Ethna MacCarthy, 2nd June 1958, qtd. in James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996) 442.
55. ↑ James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996) 451.
56. ↑ Rosette Lamont, "Beckett’s Eh Joe: Lending an Ear to the Anima", 234 in Women in Beckett: Performance and Critical Perspectives, ed. Linda Ben-Zvi (Urbana and Chicago: U of Illinois P, 1992) 234.
57. ↑ Rosemary Pountney, Theatre of Shadows: Samuel Beckett’s Drama: 1956-1976 (Gerrards Cross: Colin Smythe, 1988) 137: "A specific date variously tried out at the opening of Typescript 3 is … subsequently omitted: 'April 1986. A late evening [sic] in 1985 the nineteen eighties' [amended to simply] 'in the future' in the final text."
58. ↑ "Martin Held talks to Ronald Hayman", The Times 25 Apr. 1970, Saturday Review; qtd. in James Knowlson and John Pilling, Frescoes of the Skull (London: John Calder, 1979) 82.
59. ↑ Anthony Cronin, Samuel Beckett: The Last Modernist (London: Flamingo, 1997) 484, 485.
60. ↑ Samuel Beckett, Waiting for Godot, (1956; London: Faber and Faber, 1988) 91.
61. ↑ James Knowlson and John Pilling, Frescoes of the Skull (London: John Calder, 1979) 81.
62. ↑ Samuel Beckett, Murphy, (London: John Calder, 1963) 96
63. ↑ N. Kapur, Memory Disorders in Clinical Practice (London: Butterworth, 1988) 158.
64. ↑ P. Whitehouse, ed., Dementia (Philadelphia: F A Davis, 1998) 328.
65. ↑ R. Rabinovitz, "Beckett and Psychology", Journal of Beckett Studies 11/12 (December 1989).
66. ↑ J. Malkin, "Matters of Memory in Krapp's Last Tape and Not I", Journal of Dramatic Theory and Criticism 11.2 (Spring 1997): 29.
67. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 62.
68. ↑ C. R. Lyons, Samuel Beckett, MacMillan Modern Dramatists (London: MacMillan Education, 1983) 7.
69. ↑ Samuel Beckett, Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 62.
70. ↑ Katherine Worth, "Women in Beckett’s Radio and Television Plays" 236, in Women in Beckett: Performance and Critical Perspectives, ed. Linda Ben-Zvi (Urbana and Chicago: University of Illinois Press, 1992).
71. ↑ Deirdre Bair, Samuel Beckett: A Biography (London: Vintage, 1990) 520; cf. James Knowlson, in Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996) ; Knowlson uses the alternative spelling "Fannie" instead of "Fanny."
72. ↑ Samuel Beckett, S., Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984) 62.
73. ↑ Beckett directs Beckett, directed by Walter Asmus based on the mise en scène by Samuel Beckett) starring Rick Cluchley.
74. ↑ James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996) 352, citing Edna O'Brien, The Beckett Country (Dublin: The Black Cat Press, 1986) 83, 355 n.20.
75. ↑ Letter to Richard Ellmann, 27 January 1986; qtd. in John Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996) 772 n. 55.
76. ↑ Samuel Beckett, interview with James Knowlson, 27 Oct. 1989, qtd. in Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996) 352.
77. ↑ "Beckett as Director", Gambit 7.28 (1976): 62,61; qtd. in Rosemary Pountney, Theatre of Shadows: Samuel Beckett’s Drama: 1956-1976 (Gerrards Cross: Colin Smythe, 1988) 173, 57.
78. ↑ Letter to Alan Schneider, 21 Nov. 1958, qtd. in M. Harmon, ed., No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge: Harvard UP, 1998) 50.
79. ↑ Letter to Alan Schneider, 4 Jan. 1960, qtd. in M. Harmon, ed., No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge: Harvard UP, 1998) 59.
80. ↑ Deirdre Bair, Samuel Beckett: A Biography (London: Vintage, 1990) 521.
81. ↑ Anthony Cronin, Samuel Beckett: The Last Modernist (London: Flamingo, 1997) 470, 471.
82. ↑ Going Legit. In: maxwall.org. Abgerufen am 2. September 2009. 
83. ↑ Alan Cowell, "For Harold Pinter at 76, a Sense of Valediction: In Beckett Play, 'It is beyond acting' ", The International Herald Tribune 21 Oct. 2006, accessed 22 Sept. 2007.
84. ↑ Michael Billington, "Krapp's Last Tape", The Guardian 16 Oct. 2006, accessed 22 Sept. 2007.
85. ↑ Nicholas de Jongh, "Riveting Five-Star Performance", The Evening Standard, 16 Oct. 2006, rpt. in thisislondon.co.uk: The Entertainment Guide, accessed 22 Sept. 2007.
86. ↑ http://www.goodmantheatre.org/season/production.aspx?tess=3283
87. ↑ http://www.gate-theatre.ie/programme/138
88. ↑ C. J. Ackerley, and Stanley E. Gontarski, eds., The Faber Companion to Samuel Beckett, (London: Faber and Faber, 2006) 302.
89. ↑ C. Zilliacus, Beckett and Broadcasting: A Study of the Works of Samuel Beckett for Television and Radio (Åbo, Åbo Akademi, 1976); C. J. Ackerley, and Stanley E. Gontarski, eds., The Faber Companion to Samuel Beckett, (London: Faber and Faber, 2006) 302.
90. ↑ "Gyula Csapó", The Modern Word, accessed 22 Sept. 2007.
91. ↑ Krapp's Last Tape –after Samuel Beckett (1975), The Modern Word, accessed 22 Sept. 2007.
92. ↑ http://www.youtube.com/watch?v=YK96IJnNse0

• Knowlson, James. "Krapp's Last Tape: The Evolution of a Play". Journal of Beckett Studies 1.1 (Winter 1976).

• Krapp's Last Tape, dir. Atom Egoyan, perf. John Hurt, Beckett on Film, 2000. (Contains "Synopsis" and other information and features about the DVD.)
• Krapp's Last Tape, dir. Ian Rickson, perf. Harold Pinter, at the Jerwood Theatre Upstairs, Royal Court Theatre 12–24 Oct. 2006.
• Vorlage:Imdb title - 2007 (TV version), dir. Ian Rickson, perf. Harold Pinter, filmed at the Jerwood Theatre Upstairs, Royal Court Theatre, Oct. 2007.
• Vorlage:Imdb title, dir. Tom Skipp, perf. Peter Shreve, 2007.
• The San Quentin Drama Workshop: Beckett Directs Beckett (Quicktime audio-visual clip).

• Goodman Theatre 2009 production

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   * (cur | prev) 05:19, 26 December 2008 220.235.23.86 (talk) (53,689 bytes) (Corrected punctuation: Replaced comma after 'vituity' with opening bracket, to match existing closing bracket after 'drafts'.) (undo)
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   * (cur | prev) 02:46, 11 December 2008 144.92.117.235 (talk) (53,510 bytes) (→Patrick Magee) (undo)
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   * (cur | prev) 16:28, 5 December 2007 MusicMaker5376 (talk | contribs) (53,348 bytes) (Revert to revision 175526123 dated 2007-12-03 17:50:52 by Davecrosby uk using popups) (undo)
   * (cur | prev) 09:13, 5 December 2007 129.241.136.149 (talk) (53,354 bytes) (→Synopsis) (undo)
   * (cur | prev) 17:50, 3 December 2007 Davecrosby uk (talk | contribs) m (53,348 bytes) (Typo correction - You can help!) (undo)
   * (cur | prev) 22:26, 20 November 2007 MusicMaker5376 (talk | contribs) (53,349 bytes) (i have explained my reasons on several occasions. i am reverting a copyvio, which, as far as i know, does not violate 3rr) (undo)
   * (cur | prev) 20:58, 20 November 2007 Estrellasonora (talk | contribs) (53,549 bytes) (Links restored. Please see Wikipedia's rules about external links. Fair Use. Please do not cut. Explain your reason for editing (with facts not hearsay)) (undo)
   * (cur | prev) 20:18, 20 November 2007 MusicMaker5376 (talk | contribs) (53,349 bytes) (Revert to revision 172752642 dated 2007-11-20 19:14:07 by MusicMaker5376 using popups) (undo)
   * (cur | prev) 19:26, 20 November 2007 Estrellasonora (talk | contribs) (53,549 bytes) (Links restored (Fair Use)) (undo)
   * (cur | prev) 19:14, 20 November 2007 MusicMaker5376 (talk | contribs) (53,349 bytes) (Revert to revision 172715667 dated 2007-11-20 15:41:51 by MusicMaker5376 using popups) (undo)
   * (cur | prev) 17:25, 20 November 2007 Estrellasonora (talk | contribs) (53,549 bytes) (Links restored (Fair Use)) (undo)
   * (cur | prev) 15:41, 20 November 2007 MusicMaker5376 (talk | contribs) (53,349 bytes) (Revert to revision 172712002 dated 2007-11-20 15:19:38 by MusicMaker5376 using popups) (undo)
   * (cur | prev) 15:30, 20 November 2007 Estrellasonora (talk | contribs) (53,549 bytes) (Undid revision 172712002 by MusicMaker5376 (talk)) (undo)
   * (cur | prev) 15:19, 20 November 2007 MusicMaker5376 (talk | contribs) (53,349 bytes) (Revert to revision 172643982 dated 2007-11-20 05:09:09 by MusicMaker5376 using popups) (undo)
   * (cur | prev) 06:17, 20 November 2007 Estrellasonora (talk | contribs) (53,549 bytes) (Undid revision 172643982 by MusicMaker5376 (talk)) (undo)
   * (cur | prev) 05:09, 20 November 2007 MusicMaker5376 (talk | contribs) (53,349 bytes) (Revert to revision 172587166 dated 2007-11-19 23:29:21 by MusicMaker5376 using popups) (undo)
   * (cur | prev) 01:13, 20 November 2007 Estrellasonora (talk | contribs) (53,549 bytes) (Undid revision 172587166 by MusicMaker5376 (talk)) (undo)
   * (cur | prev) 23:29, 19 November 2007 MusicMaker5376 (talk | contribs) (53,349 bytes) (Revert to revision 172558165 dated 2007-11-19 21:01:06 by MusicMaker5376 using popups) (undo)
   * (cur | prev) 23:27, 19 November 2007 Estrellasonora (talk | contribs) (53,549 bytes) (Undid revision 172558165 by MusicMaker5376 (talk)) (undo)
   * (cur | prev) 21:01, 19 November 2007 MusicMaker5376 (talk | contribs) (53,349 bytes) (Revert to revision 172550967 dated 2007-11-19 20:23:51 by MusicMaker5376 using popups) (undo)
   * (cur | prev) 20:53, 19 November 2007 Estrellasonora (talk | contribs) (53,549 bytes) (Undid revision 172550967 by MusicMaker5376 (talk)) (undo)
   * (cur | prev) 20:23, 19 November 2007 MusicMaker5376 (talk | contribs) (53,349 bytes) (Revert to revision 172543132 dated 2007-11-19 19:44:52 by MusicMaker5376 using popups) (undo)
   * (cur | prev) 19:46, 19 November 2007 Estrellasonora (talk | contribs) (53,549 bytes) (Undid revision 172543132 by MusicMaker5376 (talk)) (undo)
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   * (cur | prev) 19:29, 19 November 2007 Estrellasonora (talk | contribs) (53,549 bytes) (Undid revision 172511299 by MusicMaker5376 (talk)) (undo)
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   * (cur | prev) 08:40, 19 November 2007 Estrellasonora (talk | contribs) (53,549 bytes) (Undid revision 172370635 by MusicMaker5376 (talk)) (undo)
   * (cur | prev) 22:56, 18 November 2007 MusicMaker5376 (talk | contribs) (53,349 bytes) (rev) (undo)
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   * (cur | prev) 06:00, 14 November 2007 Estrellasonora (talk | contribs) (53,549 bytes) (Undid revision 171215278 by MusicMaker5376 (talk)) (undo)
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   * (cur | prev) 11:44, 13 November 2007 194.81.176.254 (talk) (53,566 bytes) (→Notable performances of Krapp) (undo)
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   * (cur | prev) 14:17, 12 November 2007 MusicMaker5376 (talk | contribs) (53,430 bytes) (Undid revision 170936428 by Estrellasonora (talk)) (undo)
   * (cur | prev) 10:11, 12 November 2007 Estrellasonora (talk | contribs) (53,630 bytes) (Undid revision 170849398 by MusicMaker5376 (talk)) (undo)
   * (cur | prev) 23:44, 11 November 2007 MusicMaker5376 (talk | contribs) (53,430 bytes) (Undid revision 170845779 by Estrellasonora (talk)) (undo)
   * (cur | prev) 23:22, 11 November 2007 Estrellasonora (talk | contribs) (53,630 bytes) (Undid revision 170583982 by MusicMaker5376 (talk)) (undo)
   * (cur | prev) 18:37, 10 November 2007 MusicMaker5376 (talk | contribs) (53,430 bytes) (Undid revision 169423257 by Estrellasonora (talk)) (undo)
   * (cur | prev) 18:33, 5 November 2007 Estrellasonora (talk | contribs) (53,630 bytes) (Link restored. Citation. Please refer to Wikipedia's rules concerning links to copyrighted material...) (undo)
   * (cur | prev) 02:17, 4 November 2007 ImageRemovalBot (talk | contribs) (53,430 bytes) (Removing deleted image) (undo)
   * (cur | prev) 19:33, 3 November 2007 MusicMaker5376 (talk | contribs) (53,398 bytes) (Revert to revision 168582892 dated 2007-11-01 20:49:13 by MusicMaker5376 using popups) (undo)
   * (cur | prev) 21:44, 1 November 2007 Estrellasonora (talk | contribs) (53,591 bytes) (MusicMaker5376 please do NOT remove links. My film has been approved by both the Beckett Estate and Edicions Minuit. The short clips exercise the right to QUOTE, NOT copyright infringement.) (undo)
   * (cur | prev) 20:49, 1 November 2007 MusicMaker5376 (talk | contribs) (53,398 bytes) (as the play itself is under copyright and you DO NOT have broadcast rights to the play, it is most definitely a copyright infringement) (undo)
   * (cur | prev) 19:58, 1 November 2007 89.128.218.31 (talk) (53,687 bytes) (Please do not remove the external links to short clips of my film. I am Tom Skipp the film's director. I have permission, there is NO copyright infringement.) (undo)
   * (cur | prev) 19:38, 1 November 2007 MusicMaker5376 (talk | contribs) (53,398 bytes) (Revert to revision 168524666 dated 2007-11-01 15:46:21 by MusicMaker5376 using popups) (undo)
   * (cur | prev) 18:56, 1 November 2007 89.128.218.31 (talk) (53,716 bytes) (→External links) (undo)
   * (cur | prev) 15:46, 1 November 2007 MusicMaker5376 (talk | contribs) (53,398 bytes) (Revert to revision 166729829 dated 2007-10-24 12:17:03 by Sluzzelin using popups) (undo)
   * (cur | prev) 11:27, 1 November 2007 89.128.218.31 (talk) (53,663 bytes) (→External links) (undo)
   * (cur | prev) 12:17, 24 October 2007 Sluzzelin (talk | contribs) m (53,398 bytes) (Undid revision 166709080 by 137.132.3.9 (talk)) (undo)
   * (cur | prev) 09:00, 24 October 2007 137.132.3.9 (talk) (53,414 bytes) (→Synopsis) (undo)
   * (cur | prev) 04:15, 23 October 2007 MusicMaker5376 (talk | contribs) (53,398 bytes) (I think the fact that it's a one-man play needs to be stated right off) (undo)
   * (cur | prev) 22:23, 19 October 2007 83.250.154.212 (talk) (53,346 bytes) (→Musical adaptations) (undo)
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   * (cur | prev) 04:57, 23 September 2007 NYScholar (talk | contribs) (53,362 bytes) (additional source, image) (undo)
   * (cur | prev) 04:04, 23 September 2007 NYScholar (talk | contribs) m (52,603 bytes) (→Harold Pinter) (undo)
   * (cur | prev) 04:02, 23 September 2007 NYScholar (talk | contribs) m (52,593 bytes) (undo)
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   * (cur | prev) 03:58, 23 September 2007 NYScholar (talk | contribs) (52,535 bytes) (in-line citations; don't use external links in the text) (undo)
   * (cur | prev) 03:54, 23 September 2007 NYScholar (talk | contribs) (52,434 bytes) (external links do not belong in the text of the article; use in-line citations following sentences for coh. and not to violate style guidelines WP:CITE) (undo)
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   * (cur | prev) 02:50, 23 September 2007 NYScholar (talk | contribs) (51,156 bytes) (tc; citations still needed throughout; other format corrections and corr. of violations of WP:NOR) (undo)
   * (cur | prev) 02:36, 23 September 2007 NYScholar (talk | contribs) m (51,084 bytes) (coh) (undo)
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   * (cur | prev) 00:46, 23 September 2007 NYScholar (talk | contribs) (51,371 bytes) (reorg., added sec. for notable performances of Krapp; many problems of format (P, see Manual of Style); citations; QP; added templates; violations of WP:NOR throughout) (undo)
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   * (cur | prev) 20:49, 1 February 2006 152.78.254.3 (talk) (2,833 bytes) (→Synopsis) (undo)
   * (cur | prev) 02:07, 22 December 2005 Blainegarrett (talk | contribs) (2,786 bytes) (undo)
   * (cur | prev) 11:24, 5 December 2005 159.91.115.53 (talk) (2,787 bytes) (→Some References) (undo)
   * (cur | prev) 09:34, 27 November 2005 65.24.12.83 (talk) (2,786 bytes) (→Some References) (undo)
   * (cur | prev) 08:22, 21 November 2005 Yossarian (talk | contribs) m (2,787 bytes) (undo)
   * (cur | prev) 02:32, 8 October 2005 Dysprosia (talk | contribs) m (2,763 bytes) (not a stub) (undo)
   * (cur | prev) 20:46, 7 October 2005 BonsaiViking (talk | contribs) m (2,777 bytes) (Stub-sorting. You can help!) (undo)
   * (cur | prev) 17:02, 11 September 2005 193.77.20.4 (talk) (2,775 bytes) (a good essay on Beckett's own changes to the play added as a link) (undo)
   * (cur | prev) 16:49, 11 September 2005 193.77.20.4 (talk) (2,642 bytes) (some references and symbolism in the play...) (undo)
   * (cur | prev) 04:34, 21 August 2005 Yossarian (talk | contribs) m (1,574 bytes) (undo)
   * (cur | prev) 23:44, 17 August 2005 24.60.6.86 (talk) (1,595 bytes) (undo)
   * (cur | prev) 14:57, 27 July 2005 Mel Etitis (talk | contribs) (1,578 bytes) (capital, italics) (undo)
   * (cur | prev) 12:31, 27 July 2005 Dysprosia (talk | contribs) m (1,574 bytes) (uh?) (undo)
   * (cur | prev) 12:02, 27 July 2005 Mel Etitis (talk | contribs) m (1,574 bytes) (tidied) (undo)
   * (cur | prev) 12:02, 27 July 2005 Mel Etitis (talk | contribs) m (1,574 bytes) (tidied) (undo)
   * (cur | prev) 01:07, 27 July 2005 Matthew Platts (talk | contribs) (1,570 bytes) (added parody) (undo)
   * (cur | prev) 03:02, 2 June 2005 Yossarian (talk | contribs) m (1,355 bytes) (undo)
   * (cur | prev) 12:29, 30 May 2005 Yossarian (talk | contribs) (1,366 bytes) (undo)
   * (cur | prev) 04:46, 28 May 2005 Ganymead (talk | contribs) m (1,355 bytes) (undo)
   * (cur | prev) 22:55, 21 May 2005 Mel Etitis (talk | contribs) (1,349 bytes) (tidying) (undo)
   * (cur | prev) 21:49, 21 May 2005 Jacj (talk | contribs) m (1,325 bytes) (undo)
   * (cur | prev) 16:54, 10 April 2005 Mel Etitis (talk | contribs) (1,449 bytes) (tidied, removed lyrics & irrelevant material) (undo)
   * (cur | prev) 16:48, 10 April 2005 68.190.55.61 (talk) (1,997 bytes) (→External References) (undo)
   * (cur | prev) 16:48, 10 April 2005 68.190.55.61 (talk) (2,015 bytes) (→External References) (undo)
   * (cur | prev) 16:47, 10 April 2005 68.190.55.61 (talk) (2,010 bytes) (undo)
   * (cur | prev) 16:44, 10 April 2005 68.190.55.61 (talk) (1,661 bytes) (undo)
   * (cur | prev) 00:37, 5 April 2005 Dysprosia (talk | contribs) m (1,172 bytes) (Reverted edits by 68.52.49.76 to last version by Dysprosia) (undo)
   * (cur | prev) 00:16, 5 April 2005 68.52.49.76 (talk) (1,186 bytes) (undo)
   * (cur | prev) 08:18, 31 January 2005 Dysprosia (talk | contribs) m (1,172 bytes) (lowercase l!) (undo)
   * (cur | prev) 08:14, 31 January 2005 66.188.138.139 (talk) (1,171 bytes) (added link to text of play) (undo)
   * (cur | prev) 18:55, 22 November 2004 Yossarian (talk | contribs) m (1,077 bytes) (it's something of a stub, also added cat) (undo)
   * (cur | prev) 01:40, 4 June 2004 Henry Flower (talk | contribs) (1,055 bytes) (rv incoherent speculation) (undo)
   * (cur | prev) 23:45, 3 June 2004 82.43.184.51 (talk) (2,326 bytes) (undo)
   * (cur | prev) 23:43, 3 June 2004 82.43.184.51 (talk) (2,147 bytes) (undo)
   * (cur | prev) 02:09, 5 May 2004 Henry Flower (talk | contribs) (1,062 bytes) (language, cut POV) (undo)
   * (cur | prev) 12:41, 7 March 2004 Danijobi (talk | contribs) (1,179 bytes) (added picture) (undo)
   * (cur | prev) 11:05, 9 November 2003 Dysprosia (talk | contribs) m (983 bytes) (oops) (undo)
   * (cur | prev) 11:05, 9 November 2003 Dysprosia (talk | contribs) m (984 bytes) (i thought the quote would muck up the formatting) (undo)
   * (cur | prev) 11:04, 9 November 2003 Dysprosia (talk | contribs) (950 bytes) (article)