Apparent spontaneity relieves formally crystalline artistic structures

Evidence

In some scenes, Beckett counterbalanced the musical arrangement of the repetitions and analogies by using apparent spontaneity. … In Endgame, for example, there were passages like this: HAMM: (letting go his toque). What’s he doing? Clov raises the lid of Nagg’s bin, stoops, looks into it. Pause. CLOV: He’s crying. He closes the lid, straightens up. HAMM: Then he’s living. (Pause.) — Rolf Wiggershaus, The Frankfurt School, 554

Categorization

• XREF: Connects directly to the Frankfurt School’s treatment of Beckett’s crystalline late style and Berg’s twelve-tone compositions. — connects to: Crystallization and decrystallization shift the symbolic value of objects I perceive — Jean-Paul Sartre, Being and Nothingness: An Essay on…, 1382; Spontaneity marks subaltern classes that lack class-for-itself consciousness — Antonio Gramsci, Selections from the Prison Notebooks, 803; Plasticity names the unity of spontaneity and receptivity in giving and receiving form
• SHARE: The ‘He’s crying. Then he’s living.’ exchange is a compact, quotable illustration of Beckettian black comedy for anyone who reads Endgame.
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Crystallization and decrystallization shift the symbolic value of objects I perceive — Jean-Paul Sartre, Being and Nothingness: An Essay on…, 1382; Spontaneity marks subaltern classes that lack class-for-itself consciousness — Antonio Gramsci, Selections from the Prison Notebooks, 803; Plasticity names the unity of spontaneity and receptivity in giving and receiving form

Broader Connections

• Spontaneity marks subaltern classes that lack class-for-itself consciousness #complicates (0.71) — Antonio Gramsci, Selections from the Prison Notebooks, 803