About mouths and resonances: The affirmation of an enunciating consciousness

Abstract

In the following article we will explore the status and function of monologism in three dramatic pieces by Samuel Beckett, Happy Days (1961), Play (1962-1963), Not I (1972). We will approach them in his relationship with the notion of dramatic character, its “space-temporal-discursive conditioning” and its relationship with “another”. Within the three plays, seen as a projection, it is possible to visualise a progressive radicalisation on the manner of placing a character, denaturalise and singularise it. These three different placements address the same communicative situation and the same problem: they are all the affirmation of an enunciative self-consciousness.