Date of Award

2008

Document Type

Thesis

Degree Name

Master of Fine Arts

Department

Theatre

First Advisor

Larry Quiggins

Second Advisor

Donnell Walsh

Third Advisor

George Hickenlooper

Abstract

In Enmasking Beckett: The Use of the Commedia dell'Arte in Waiting for Godot, Shaun Sheley explores how the traditional Italian theatrical form of Commedia dell'Arte can inform and enhance character development and physical expression in Samuel Beckett’s seminal play Waiting for Godot. Drawing on his experience directing a 2007 university production, Sheley demonstrates how the fixed archetypes and physical vocabulary of Commedia dell'Arte can be applied to Beckett’s characters—Vladimir, Estragon, Pozzo, and Lucky—to support their stylized, non-naturalistic portrayal and Beckett’s own directive for the play to be performed "balletically."

The thesis contextualizes Waiting for Godot within Beckett’s broader philosophical outlook and life experiences, emphasizing his exploration of the human condition, companionship, and existential suffering. Sheley argues that the grotesque physicality and stylized interactions inherent in Commedia dell’Arte—particularly the lazzi (comic routines) and the mask work—resonate with Beckett’s abstract and symbolic theatrical vision. The study illustrates how enmasking, or the physical embodiment of Commedia types, can ground Beckett’s characters in a theatrical tradition while honoring their modern existential dilemmas.

Additionally, the thesis offers historical and performative analysis of Commedia dell'Arte, establishing its influence on modern comic traditions and its relevance to Beckett’s theatrical lineage, including English Music Hall and silent film comedy. Through script analysis, rehearsal process, and actor training insights, Sheley provides a practical methodology for integrating Commedia techniques into contemporary Beckett performance, enriching both actor embodiment and audience engagement.

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