abstract
The paper proposes a debate on Samuel Beckett’s later theater based on the concept of parody, as discussed by Theodor W. Adorno and Hans-Thies Lehmann, as a reflection both on the crisis of drama and on the possibilities of overcoming it. In this context, the play That Time is analyzed as a singular case of Beckett’s later theater. The relations between memory and narrative in individual experience, as proposed by his play, are considered in the light of voiceover as a major staging device. Based on these elements, the article discusses the relevance of the concept of parody to Beckett’s later theater.
keywords:
Samuel Beckett; Drama; Contemporary theater; Parody