Self Revelation in Samuel Beckett's Chaos-Stricken Theatre

Abstract

To see "I" at the center of the universe is a modern sensation and feeling. Dramatic literature has tried to capture this sensation, in a part, through hinging on chaos theory, better known as hidden-order or dynamical systems theory which is a new way to think about order that can illuminate fragmentation and nonlinearity in literature and other fields. It has been revealed that systems behave in secular manner in which chaos results in discipline and vice verse. It provides us with the tools for solving complicated problems in the chaos and alteration-stricken environment of today or the future. This research shows how the application of this theory and its characteristics to Samuel Beckett's idiosyncratic theater correlates well with the manifestation of the self, the great postmodern existential obsession, Beckett has been aspirant of in his oeuvre.After the Second World War, the epistemological implications of the theory of relativity, quantum mechanics and Claude Shannon's work on information and entropy created a paradigm of uncertainty about everything and more

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“…What they have been doing so far? Ionesco like Beckett has tried to "to create chaos of self awareness in his viewer and reader which can help him out come up with solutions for his existential problems" (Rahimipour, 2013) On the line of getting ready to face death and enable the king to get enough courage for such end, they try to provide an identity of his past. All the past to the king has turned to an illusion to a smashed dream of reality he himself does not strongly believe.…”