Frammento e Cammeo. Samuel Beckett fra prosa e poesia

[Autom. eng. transl.] Beckett receives from his predecessors a scan of the opposition between prose and poetry already highly problematized. On the one hand the explosion of the linearity of the novel carried out by Joyce; on the other, experimentalism on the edge of the avant-garde lyric. After having devoted himself to both forms in his first period, Beckett seems to choose prose, but this choice does not end the comparison with the poetic dimension. On the contrary, his research, especially in later production, seems to be based on a stylistic syncretism between prose and poetry, both in the narrative and in the theatrical field. Through a close analysis of some works of Beckett's maturity we will try to evaluate how the author uses the tension between prose and poetry as a creative space that is furrowed along two distinct but destined trajectories. On the one hand the lyric that fades into image becomes concrete in tiny textual cameos - and that sometimes do without the text -; on the other, the narrative, surgically decomposed by an obsessed reason, turns into fragments that are not always modular. In the tension between these two dimensions, Beckett's creativity is disciplined in a form gymnastics in which lyric and narrative intertwine and transcend.