Like in most of Samuel Beckett’s texts, Endgame deals with characters outside of society, waiting and looking in vain for something unknown in a nondescript, apocalyptical place. Its characters are bound towards each other by an invisible chain of co-dependency that knows no way out. Contrary to this bleak topic, it is a strikingly funny play with a number of comic elements, physical and verbal. Endgame was Robert Wilson's 10th production at the Berliner Ensemble since 1998.
“This poignancy and consequence. This concentration. This severity. This humor. ... No sentimentality, but the echo of a world in turmoil.”
— Der Tagesspiegel (Rüdiger Schaper), Dec. 4, 2016

Hamm kann nicht stehen, Clov kann nicht sitzen, Hamm ist der Herr, Clov der Diener, beide sind zum Überleben aufeinander angewiesen. In zwei Mülleimern Nagg und Nell, Hamms Eltern, die „verfluchten Erzeuger“, auch sie können nicht fort. Gemeinsam spielen sie ein nie endendes „Endspiel“ gegen die Hoffnungslosigkeit, trotzen der untergehenden Welt mit unerbittlicher Ironie und heiterer Verzweiflung, denn: „Nichts ist komischer als das Unglück.“ Robert Wilson verwandelt mit Becketts ENDSPIEL erneut einen der Klassiker der Weltliteratur in sein Zaubertheater für alle Sinne. Der amerikanische Regisseur, Bühnenbildner, Architekt, Künstler..., der selbst seit 2009 als „Krapp“in Becketts LETZTEMBANDauf der Bühne steht, und dessen Inszenierungen auf der ganzen Welt zu sehen sind, hat im BERLINERENSEMBLEseit Jahren eine künstlerische Heimat gefunden. 1998 inszeniert Wilson zum ersten Mal am BE(Brechts OZEANFLUG), und Stücke wie LEONCEUNDLENA, DIEDREIGROSCHENOPER,SHAKESPEARESSONETTE, PETERPANund zuletzt FAUSTI UNDII prägen den Spielplan des Theaters mit seiner unvergleichlichen künstlerischen Handschrift.

Regie, Bühne, Lichtkonzept:
Robert Wilson
Kostüme: Jacques Reynaud
Musik: Hans Peter Kuhn
Mitarbeit Regie: Ann-Christin Rommen
Dramaturgie: Anika Bárdos
Mitarbeit Bühne: Serge von Arx
Mitarbeit Kostüme: Wicke Naujoks
Mitarbeit Musik: Hans-Jörn Brandenburg
Licht: Ulrich Eh
Videoprojektionen: Tomek Jeziorski

希腊导演给意大利剧团导演的一部戏，意大利之外的世界首演。
特佐普洛斯挑战荒诞派代表作家贝克特的经典之作《等待戈多》，通过对经典文本的不断拆解和重组，挖掘人类内心的深渊、攀登“存在”的高峰，引导我们回到文本本质的真相：当现在和过去的所有创伤被揭开，人类在“世界的废墟”上重新建立生活——一种有价值的生活究竟是什么模样？特佐普洛斯对答案的探索尽显大师手笔。

希腊导演给意大利剧团导演的一部戏，意大利之外的世界首演。
特佐普洛斯挑战荒诞派代表作家贝克特的经典之作《等待戈多》，通过对经典文本的不断拆解和重组，挖掘人类内心的深渊、攀登“存在”的高峰，引导我们回到文本本质的真相：当现在和过去的所有创伤被揭开，人类在“世界的废墟”上重新建立生活——一种有价值的生活究竟是什么模样？特佐普洛斯对答案的探索尽显大师手笔。

Three short plays that run the gamut of existence, from birth to the afterlife.

NOT I
“Practically speechless….all her days.”
A non-verbal woman, abandoned by her parents at birth and resigned to an uneventful life, suddenly hears voices at the age of 70 and realizes it’s she who is speaking.

PLAY
“We were not long together when she smelled the rat.”
Eternally together in the afterlife and locked in their urns, a man, his wife, and his mistress relay the sordid details of their love triangle.

KRAPP’S LAST TAPE
“Perhaps my best years are gone…But I wouldn’t want them back. Not with the fire in me now. No, I wouldn’t want them back.”
Krapp (F. Murray Abraham), an aged man, reviews his life with the assistance of his younger self, heard on autobiographical tape recordings.

《来去》Come and Go

三个女人的人生如褪色油画般交叠。她们轮转、低语、传递秘密，构成精密的时间齿轮。贝克特以数学般的对称结构，让缺席成为主角——那些未被言说的往事，恰似裙裾下永远空缺的长凳。



《俄亥俄即兴》Ohio Impromptu

一灯，一桌，两位镜像般的老者。他们共读的故事是往事还是虚构？同步的动作与错位的台词编织记忆的罗生门。当叙述戛然而止，留在黑暗中的不仅是未完成的文本，更是所有讲述者终将面对的沉默深渊。



《戏》Play

三个被困住的头颅，被聚光灯逼供情爱往事。机械的追光如同命运审判者，迫使他们在语速失控的忏悔中暴露情感的废墟。当台词沦为反射性痉挛，所谓"戏剧"不过是地狱版的卡夫卡式审讯室。



《落脚声》Footfals

衰老的躯体困在记忆里，被丈量的究竟是时间，还是永劫回归的深渊？存在的本质或许就是这永不停止的落脚声，我们都是被囚禁的时间囚徒，在记忆的灰烬里丈量虚无的周长。



《什么哪里》What Where

四个角色在空白空间里进行记忆考古。"谁？何时？何处？"的拷问渐次崩解，最终连发问者都成为被抹去的谜题。这部贝克特晚期作品宛如抽象主义绘画，用重复与缺失构建权力的拓扑学。

How It Is charts a journey undertaken by turns alone and accompanied. Time and space are fragmented and juxtaposed in one of the most eloquent and exquisite texts in the Beckett canon, continuing the company’s critically acclaimed exploration and illumination of Beckett’s prose texts, How It Is seeks out new ways for audiences to experience Beckett’s prose by jumping genres—the novel to the stage and now the stage to screen. This durational piece of six hours is a first-time opportunity for an audience to experience the work in one sitting.

“The spine tingles . . . Dillane and Lovett are once again compelling in their symbiosis. . . . there is no sense of confusion, rather a feeling that somehow we are nearer to the essence of what it is to be human.” – Irish Examiner



Exactly two years after originally planned, actors Stephen Dillane, Conor Lovett, and award-winning Irish company Gare St Lazare return to The Coronet Theatre with the UK premiere of How It Is (Part 2), the second stand-alone part of a three part staging of Beckett’s novel, following the success of Part 1 in 2018.



As with all Gare St Lazare work, this production is directed and designed by Judy Hegarty Lovett, with sound designed by their long time collaborator, composer Mel Mercier, and played by Mercier and the 14 member Irish Gamelan Orchestra.



How It Is (Part 2) is both a continuation of (Part 1), and a stand-alone piece in its own right. How It Is (Part 1) saw an unnamed narrator in a landscape of mud and darkness with only a sack of tins and a tin opener, as he recounts a journey towards a fellow traveller, Pim, repeating his life as he heard it, uttered by another voice. In (Part 2), he is with Pim, and when a brief honeymoon period ends, violence seems the only way to make sense of their bizarre predicament.



For over 20 years, joint artistic directors Judy Hegarty Lovett and Conor Lovett have explored Samuel Beckett’s work, gaining an enviable reputation worldwide for their distinctive stagings of his prose and novels. Originally written in 1961 in French, How It Is (Comment c’est) was Beckett’s last full-length prose work