Beckett revised his own plays toward musical, rhythmized form rather than absurd spectacle.

Evidence

Productions in which Beckett was involved turned into continuations of his work on the play, with countless minor alterations being included, all pointing in one direction. … In the last three weeks Beckett has given Endgame a tight stage presentation, simplifying it, repeating leitmotifs, and making it rhythmic. It will not be an absurd spectacle giving people the creeps. Instead, it will be something that goes beyond stage conventions, whose crystalline perfection will affect people personally.’ — Rolf Wiggershaus, The Frankfurt School, 553

Categorization

• SHARE: Rehearsal-diary minutiae about Beckett’s 1967 Berlin Endgame suits a theatre-history obsessive specifically.
• XREF: connects to: Beckett pursued the same artistic absolutism as serial composers, beyond individual expression. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 553; Beckett’s later work substituted phonetic and gestural structure for discursive meaning. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2239; Beckett’s Endgame structures drama through parodic categories and musical form. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2240
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Beckett pursued the same artistic absolutism as serial composers, beyond individual expression. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 553; Beckett’s later work substituted phonetic and gestural structure for discursive meaning. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2239; Beckett’s Endgame structures drama through parodic categories and musical form. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2240