Beckett builds Endgame’s minimal structure by parodying dramatic categories with musical-form principles.

Evidence

Endgame, written in the mid-1950s, is a more bitter version of Waiting for Godot: circling the abyss, but still a game. The categories of drama, treated parodically, and the principles of musical form give a minimum of structure to the contents. There is still a soliloquy in Endgame, for example; but it is nothing more than a series of halting, empty-sounding allusions. Instead of the curtain rising, Hamm takes a handkerchief off his face. — Rolf Wiggershaus, The Frankfurt School, 553

Categorization

• XREF: connects to: Adorno held that Endgame’s dialogue advances by a musical, non-discursive logic. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 553; Beckett’s Endgame structures drama through parodic categories and musical form. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2240; Beckett built spontaneity into his crystalline dramatic structures like Berg used tonality. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2243 (+1 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Adorno held that Endgame’s dialogue advances by a musical, non-discursive logic. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 553; Beckett’s Endgame structures drama through parodic categories and musical form. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2240; Beckett built spontaneity into his crystalline dramatic structures like Berg used tonality. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2243 (+1 more)

Broader Connections

• Beckett’s Endgame structures drama through parodic categories and musical form. #corroborates (1.00) — Rolf Wiggershaus, The Frankfurt School, 2240