From the Minor Key to the Monadic World:Expressionism in Beckett's Theatre
This paper sees Beckett's trip to Germany from October 1936 to March 1937 as a critical contribution to the formation and development of his aesthetic thoughts in theatrical presentation,and argues that German Expressionism,in particular,exerts a profound influence on Beckett's theatrical creation since the 1950s.Beckett established a simple and restrained aesthetic defined by"the minor key"through the interpretation and recognition of the artworks by Die Brücke,especially their woodcuts.His middle and late dramatic works became highly internalized and abstract,revealing an art world of the spiritual as was described by Kandinsky,a leading artist of Der Blaue Reiter.In the end,after achieving an aesthetic balance between the abstract and the concrete,Beckett's Theatre emerged as the monadic world that he had perceived in the paintings of Karl Ballmer,an avant-garde Expressionist artist of the Hamburg Secession.
Samuel BeckettSecessionismthe minor keyinner voicemonad
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