Synopsis Set in a bare, partially underground room, Beckett's 1957 existentialist play finds a wheel-chair bound Hamm passing the time by ordering his servant Clov to move him around, fetch objects and peer out the window for signs of life, while his bin-dwelling parents Nagg and Nell look on. Beckett Centenary Festival
Having never seen a version of samuel beketts 'End Game' before nor indeed seen any of his other plays i cannot unfortunatly be critical against charles sturideges view. However I can post my thoughts! In my opinion this was a very deep, emotional play with many thought provoking moments and it cirtainly captured beketts power of making the audince laugh and then making them extreamly uncomfortable about it. The use of clovs hight made it even more thought provoking for the audience to watch him limping from one side of the stage to the other continually forgetttin things and getting extreamly frustated with himself was comical and saddening to watch. I will give this play a four for the only reason that i thought it was a very intresting and wonderful play to watch the only reason i will not give a five is beacuse i have never seen another version of the play and must do so so i can have a more educated view of it. - 212.32.78.37)
See also The Pit. Opened 1982. The Barbican is home to the internationally acclaimed bite programme, featuring a diverse range of the most exciting new theatre, dance and music from around the world. Bite has established firm relationships with leading international artists and its impressive list of Artistic Associates includes; Deborah Warner, Michael Clark Company, Cheek by Jowl, Fabulous Beast and Afroreggae UK Partnership. Whilst continuing to support the work of established companies, bite seeks to enable young and emerging artists to present work at the Barbican. Recent bite seasons have included music from the favelas of Rio, Shakespeare from Japan, an Icelandic Peer Gynt, puppetry from Canada, traditional dance from Cambodia and cabaret from South London. Bite work extends beyond the 1166-seat Barbican Theatre and the 200-seat Pit into non-traditional spaces, often blurring the boundaries between performer and audience and enabling an even greater number of people to enjoy its programme.
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