成都汽车招聘信息:<等待戈多>是贝克特用法语写的，还是英语写的？谁有法语版，多谢

En attendant Godot 等待戈多（Waiting for Godot）
你看看下面的介绍就知道了。

Beckett, Samuel
Beckett, Samuel (1906-1989), Irish-born poet, novelist, and playwright, who won international fame with his play En attendant Godot (Waiting for Godot), which premiered in 1953. He won the Nobel Prize in 1969 and influenced a generation of dramatists, including English playwrights Harold Pinter and Tom Stoppard and American playwrights Edward Albee and Sam Shepard.

Born in the Dublin suburb of Foxrock, Beckett attended the prestigious Portora Royal School in Enniskillen, in what became Northern Ireland, and Trinity College in Dublin. After graduating with a degree in Romance languages in 1927, he lectured at the École Normale Supérieure in Paris from 1928 to 1930. During this time he befriended Irish author James Joyce, who was to have a profound effect on his writing. Much of Beckett’s early poetry and fiction, including the collection of short stories More Pricks than Kicks (1934) and his first published novel, Murphy (1938), was written with Joyce’s works as the literary model.

Having studied the works of French philosopher René Descartes and written a book on French novelist Marcel Proust, published in 1931 during his tenure in Paris, Beckett returned to Dublin in 1930 to complete his M.A. degree and to accept a lectureship in French at Trinity College. But the formal academic life held little appeal, and in December 1931 he resigned from Trinity with no better prospects than a vague hope for his writing. This difficult period is described in some of his earliest writing: Dream of Fair to Middling Women, an unfinished novel written in English shortly after his resignation but published in 1992, and the three-act play Eleutheria (Greek for “freedom”), written in French in 1947 and published in 1995.

Beckett went through a period of family conflict and self-doubt, especially after his father’s death in June 1933, which further strained Beckett’s difficult relationship with his mother. From 1934 to 1936 he underwent psychoanalysis in London. He then spent a year traveling in Germany, witnessing firsthand the rise of German dictator Adolf Hitler and Nazism. In October 1937 he settled in Paris more or less permanently. A few months later he was inexplicably stabbed on a Paris street. While recovering in the hospital he was visited by an acquaintance, Suzanne Dumesnil, who would become his lifelong companion and, in 1961, his wife. After Paris fell to the Nazis in 1940 (during World War II), Beckett began working for the French Resistance. His unit was betrayed in August 1942, however, and he and Dumesnil fled on foot to the south of France. They spent the war years in the village of Roussillon, where Beckett wrote the novel Watt (completed 1945; published 1953). For his efforts in fighting the German occupation, he was awarded the Croix de Guerre and the Médaille de la Résistance in 1945 by the French government.

After the war Beckett returned to Paris and entered his most creative period, which he called “the siege in the room” (for the onslaught of ideas and inspiration he experienced), and began writing in French. In this language he was able to break free of the burden of English literary tradition and the influence of James Joyce. Half-jokingly, he explained that in French one could “write without style.” In rapid succession he completed three novels, which slowly found publishers: Molloy (completed 1947; published 1951; translated 1955); Malone meurt (completed 1948; published 1951; translated as Malone Dies, 1956); and L’innomable (completed 1950; published 1953; The Unnamable, 1958); and two plays, Eleutheria and En attendant Godot (completed 1949; published in French in 1952 and in English in 1954).

Devoid of traditional plot and recognizable characters, Beckett’s works attacked systems of communication, including language itself. Rather than representing the observable surface of life, the author seemed intent on demonstrating its inconsistencies and absurdities. Consequently, some early critics saw Beckett as part of a “literature of the absurd,” a representation of life’s irrationality (see Theater of the Absurd). Such an emphasis on this side of his work, however, ignored Beckett’s rational dissection of human consciousness and of the systems through which we struggle to order our lives.

En attendant Godot, about two tramps waiting near a tree on an isolated country road for someone named Godot to arrive, was first performed at the Théâtre Babylone in Paris in January 1953. Written in French and translated into English by the author, the play fused music-hall comedy with philosophic musings about the nature of human existence. Its nearly bare stage and disconnected dialogue defied the conventions of realistic theater and both puzzled and captivated early audiences. With the international success of the play, Beckett’s literary and economic fortunes turned, and publishers were eager to bring out all of his work. From 1953 onward he wrote in both English and French, translating his work from the language of composition into French or English. From 1967 onward he staged most of his own plays, most often in Germany and France. His other major theater works include Fin de partie (1957; Endgame, 1958); Krapp’s Last Tape (1958); Happy Days (1961); and a series of short plays: Play (1963); Eh, Joe (written for television, 1966); That Time (1976); Footfalls (1976); Rockaby (1981); and Ohio Impromptu (1981). Beckett continued to write fiction as well, including Comment c’est (1961; How It Is, 1964), The Lost Ones (1972), and three short novels—Company (1980), Mal vu mal dit (1981; Ill Seen Ill Said, 1981), and Worstward Ho (1983)—-which were published as a trilogy titled Nohow On in 1996. The novels of Nohow On contain ghostly, almost mystical scenes from a narrator’s memory, all in Beckett’s compact prose. At his death, Beckett was hailed as the most innovative and influential dramatist of the 20th century for his unconventional approach to language and plot and his uncompromising, often shocking dramatizations of human relationships.

Contributed By:
S. E. Gontarski

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