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As he manages this, he hears another's voice calling him. It is his old friend, Cream, whom he has not seen in years. Cream, a widower, had been living with one of his daughters, Daisy, but since her death, he has moved in with the other, Bertha. Gorman's wife is still alive. Both men are in their seventies: Gorman, by far the more inquisitive of the two, is seventy-three; Cream is seventy-six.
291:. Cream can't agree saying that personally he has never been troubled by it. From all accounts Gorman is thinking about his own mother, even though he is doesn't actually suffer himself either; his assertions are mere opinion presented as fact. He wonders though about a society that can build âatom rocketsâ and yet has still to discover a cure for rheumatic disorders.
354:â, a man called Overend, which he now asserts was in April 1896 despite Cream insisting that his father didn't join the council till January 1897. Gorman then says that the event he was referring to must have been instigated by another person altogether. It transpires the incident didn't involve the mayor at all; rather it was something to do with a local
127:âBy transforming the French into Irish rhythmic prose, Beckett went beyond translation to make the play his own, although it is less elusive than the drama which constitutes his fully original work. It is easy to see what attracted him to the text, two men on the margins of society, facing isolation and semantic memory loss, which disrupts communication.â
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Mary, who died in an explosion in a car along which injured a soldier, John
Fitzball; John's aunt, âthe high and mightyâ Miss Hester, and her niece, Miss Victoria, who was due to marry an American and who had a brother â the aforementioned John â who died of injuries sustained from the explosion a year or two later.
307:â which deals with civil, rather than criminal, cases â and tries to think of the name of the judge who has been presiding over this high-profile case but can't. Gorman obviously is not well informed on legal issues and admits it; his only experience of judicial matters has been to witnesses his niece's
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Frenchâ in the first place. Beckett already admired Pinget's work â he had, for example, insisted that his friends. the
Reaveys attend a performance of the French production on which he had been working â and âused to cite this play as an illustration of how important the proper use of music could be
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and the pub was
Harrison's Oak Lounge; he is doubly sure of this because he used to take his wife there on holiday. Gorman gives way on the pub's name but is still convinced it was Chatham. Cream refuses to cave, insisting that âThe Gunnersâ were billeted at Chatham. The two become muddled. Cream is
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The play opens to the sound of street noises. An old organ grinder, Gorman, is having a fight with his equally dilapidated barrel organ. It plays for a bit, he thumps it; it plays a few bars more and then it gives up the ghost. He curses, fiddles with the workings and gets a bit more life out of it.
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This causes the men to reminisce over people they used to know in the past: Helen Bliss, the butcher's daughter; Rosie
Plumpton, now deceased; Molly Berry; Eva Hart, whose brother married Gertie Crumplin who, in her day, had been a âgreat one for the ladsâ; Nelly Crowther, the daughter of Simon and
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They begin to talk about families. Cream's grandson, Herbert â the judge's son â died in infancy; his daughter has two daughters of her own though. It's at this point Gorman learns that Cream's wife has been dead for twenty years. Gorman gets confused about the names of Cream's daughters, Daisy and
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Critics tend to by-pass the piece, treating it as
Beckett-lite, which in many ways it is, but it also demonstrates something of a nostalgic looking-back from Beckett's own point of view, not simply to the Dublin he once knew but to a style of writing that he would never return to again after this
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Throughout their conversation the roar of engines has continually interrupted them. Cream has had enough and prepares to go, aware that he's keeping Gorman from his work. Gorman persuades him to stay and starts looking for his cigarettes. Cream says he should start his barrel organ again which he
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had in mind some specific âemergent occasionâ then this was probably the last thing he would have thought of: two men, each waiting for their own particular âbell tollâ, each âan island, entire of itselfâ shouting across the strait to another man on another island barely able to hear a word the
147:â. They can't agree over the make of the first car they actually did see: Gorman thinks it was a âPic-Picâ but Cream insists it was a âDee Dyan Buttonâ. Each man extols his recollected details with utter conviction. They do, however, manage to agree upon the owner of the said vehicle, a
115:âoffered to put my play into English. As he only translates his own material, I considered his offer a great kindness. Beckett wanted to set the scene of the play in Dublin and turn my Parisians into Irishmen; I gave him my permission to do so. It is a model translation.â
338:â but it seems not; despite advise to invest in land, all the money had been put into the bank and lost during the War. Cream jokes that one day people will be building on the moon, which causes Gorman to wonder if Cream is âagainst progress.â He says not but thinks it
449:; the result is both comic and tragic but it is clear that Beckett is in his debt. There is a touch of personal nostalgia here too: Beckett makes specific reference to the "Dee Dyan Button," the first car that Cream and Gorman ever saw, which was actually the
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the work the themes at its core are universal. Gorman's line, âYou had to work for your living in those days, it wasn't at six you knocked off, nor at seven neither, eight it was, eight oâclock, yes by God,â could be slipped almost unnoticed into the
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and plumps for 1895, âthe year of the great frostâ. Cream corrects him, it was 1893, the year he'd just turned ten. Gorman doesn't object and proceeds with his recollection of the time Cream's father âwent hell for leather for the
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185:, accuses his daughter of going through his pockets, then comes across the packet. Neither man has a light however. They try to catch the eye of a passer-by but with no joy. Gorman asks Cream if he remembers the âblack
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He notes that Cream's son has been in the newspapers recently concerning the âCarlton affairâ. Cream corrects him. It was the âBarton affair.â Gorman is not convinced. He insists: âThe
Carlton affair, Mr Cream, the
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They are both more alone than they want to admit, struggling to remember, fighting to find common ground and yet even when they seem to it turns into a new battlefield for these two but they keep soldiering on.
409:âMr OâCasey is a master of knockabout in this very serious and honorable sense â that he discerns the principle of disintegration in even the most complacent solidities, and activates it to their explosion."
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a nurseryman. He also now states she has two sons, one of which he calls Hubert confusing the boy with
Herbert the boy his son, the judge, lost in infancy. He can't remember the name of his other grandson.
514:, by Robert Pinget in a translation-adaptation by Samuel Beckett â more Beckett than Pinget I hazard â is a telling if slender piece of work. Death becomes it well: its subject matter is ageing and death,
522:. But also memory and fondness, loving and nostalgia â and the foolish-fondness of old men straining with weak memories, full of error, for the pictures and pleasures of the past."
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Gorman becomes nostalgic for the War: âh those are happy memories.â Clearly Cream's remembrances are not as ârose tintedâ though but he won't even give in on this generality.
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The roar of an engine butts into their conversation, the first of many to come. They both bemoan the youth of today and remember a time before cars. Gorman remembers â
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For some reason this reminds Cream of his father. Gorman says he knew him to be a straight-talking man. He tries to remember when the man sat on the
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The conversation shifts onto financial matters. Gorman has always believed that Cream's daughter, whom he mistakenly calls his daughter-in-law, had â
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by
William W. Demastes, Bernice Schrank (Greenwood Press, 1997), p 9 states that this was the first UK production but this is not supported by the
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The effect of modern life on the environment takes the men back to a particularly hot summer in 1895. Gorman talks about watering the roof with a
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There is a clear contrast between OâCasey's linguistic pyrotechnics and the limited, impoverished lives of the characters that utter his rich
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Gorman and Cream's worlds are crumbling around them just as their pasts and memories are doing. Their speech is colloquial, their outlook
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The roar of an engine distracts them and the next thing he knows Gorman has changed the subject: he is asking after Cream's son, who is a
417:. The modern world is passing them by â literally â motor vehicles and the young on the street. Despite Beckett's conscious efforts to
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which confirms the performance dates as between 5 January 1965 and 24 January 1965, the play being part of a double-bill with
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does. For a few moments it fights with the street noise and then rises triumphantly at the end of the play.
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323:. This contradicts what he himself said earlier when he referred to Bertha's husband, a man called Moody,
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Yesterday's
Deformities: A Discussion of the Role of Memory and Discourse in the Plays of Samuel Beckett
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to a playwright, especially one who was cognizant of the importance of unifying the two disciples.â
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on 23 March 1961, directed by Steve Chernak with Sly Travers (Gorman) and Jack Delmonte (Cream).
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Judson Poetsâ Theater, New York. Peter Feldman directed Jerry Trichter and Sean OâCeallaigh.
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to waste resources on the moon and can envisage nations fighting over it in years to come.
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The Old Tune itself (WAV file) as used by The TĂŒbingen Anglo-Irish Theatre Group
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could easily have squabbled about on their trek through and round about Dublin.
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opened at the Théùtre de la Comédie, Paris. George Peyrou directed
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Irish Playwrights, 1880-1995: A Research and Production Sourcebook
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but Cream says Gorman must be thinking of the man's brother, the
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The play was adapted to the stage shortly after publication in
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The British stage version opened on 22 November 1964 at the
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Disjecta: Miscellaneous Writings and a Dramatic Fragment
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For the unspecified old tune played by Gorman on the
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196:Gorman says he enlisted in 1906 with âThe Footâ at
170:until 1925. They move onto the condition of modern
374:Beckett draws heavily on the stylized language of
567:A version was presented on 5 January 1965 at the
390:of the whole Irish comic tradition of linguistic
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597:âBe sure Pinget gets full & visible credit.
209:. It that were the case the place name would be
461:year, 1960, the same year he completed his own
1625:Works originally published in Evergreen Review
857:, 30 March 1961. Quoted in Goodman, R., (Ed.)
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911:Ackerley, C. J. and Gontarski, S. E., (Eds.)
870:Ackerley, C. J. and Gontarski, S. E., (Eds.)
489:5.17, (MarchâApril 1961) and first presented
213:which is where Morrison's pub seemingly was.
405:, which includes two one-act plays, writes:
174:especially the prevalent trend for erecting
777:(London: Faber and Faber, 1984), pp 186,187
545:In 1964 Beckett's adaptation opened at the
401:In 1934, Beckett, in a review of OâCasey's
158:but Cream insists a hose would have been a
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827:Collected Shorter Plays of Samuel Beckett
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283:. The judge, it turns out, is plagued by
189:â they used to get when they were in the
915:, (London: Faber and Faber, 2006), p 421
874:, (London: Faber and Faber, 2006), p 420
859:From Script to Stage: Eight Modern Plays
659:From Script to Stage: Eight Modern Plays
311:proceedings some thirty years earlier.
205:sure that Gorman is thinking about the
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861:(San Francisco: Rinehart, 1971), p 546
829:(London: Faber and Faber, 1984), p 179
803:(London: Faber and Faber, 1984), p 189
790:(London: Faber and Faber, 1984), p 187
764:(London: Faber and Faber, 1984), p 186
751:(London: Faber and Faber, 1984), p 185
738:(London: Faber and Faber, 1984), p 183
725:(London: Faber and Faber, 1984), p 182
661:(San Francisco: Rinehart, 1971), p 550
648:(London: Faber and Faber, 1984), p 178
622:"BBC Third Programme - "The Old Tune""
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913:The Faber Companion to Samuel Beckett
872:The Faber Companion to Samuel Beckett
583:as Cream, directed by Michael Geliot.
674:(London: Souvenir Press, 1990), p 43
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303:.â Cream says his son works for the
217:By âThe Footâ, Gorman may mean, the
98:was presented on a double bill with
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1484:The Complete Short Prose 1929â1989
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590:... in 1986, Beckett reminded him:
554:Mercury Theatre, Notting Hill Gate
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588:Magic Theatre, San Francisco
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685:Samuel Beckett: A Biography
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556:. Alan Simpson directed
493:at the Royal Playhouse,
425:Four Yorkshiremen sketch
1620:Plays by Samuel Beckett
1462:Short story collections
243:There has been a Naval
1470:More Pricks Than Kicks
1375:From an Abandoned Work
1233:... but the clouds ...
1159:From an Abandoned Work
1615:Theatre of the Absurd
1579:Samuel Beckett Bridge
1558:James Beckett (uncle)
889:University of Glasgow
601:his vision not mine.â
376:John Millington Synge
247:in Chatham since 1588
43:transformed Pinget's
1106:A Piece of Monologue
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432:â or just as easily
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657:Goodman, R., (Ed.)
626:BBC Programme Index
238:The Royal Artillery
53:BBC Third Programme
1589:(2015 documentary)
1308:Mercier and Camier
1187:Rough for Radio II
704:2007-09-27 at the
530:Pinget's original
455:Mercier and Camier
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289:hereditary disease
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1008:Waiting for Godot
855:The Village Voice
581:Declan Mulholland
503:The Village Voice
479:Stage productions
475:other is saying.
439:The Sunshine Boys
428:â made famous by
252:Caterham Barracks
101:Krapp's Last Tape
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63:as Cream and
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629:. Retrieved
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599:The Old Tune
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562:Gerry Duggan
536:Georges Ader
532:La Manivelle
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512:The Old Tune
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32:La Manivelle
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18:The Old Tune
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1501:Non-fiction
1322:Malone Dies
1240:Quad I + II
1127:Catastrophe
1064:Come and Go
696:Brown, V.,
547:avant-garde
386:, if not a
256:foot guards
227:foot guards
164:World War I
160:luxury item
156:garden hose
67:as Gorman.
39:) in which
1610:1960 plays
1604:Categories
1368:First Love
1354:Assumption
1226:Ghost Trio
1211:Television
1134:What Where
1050:Happy Days
1001:Eleutheria
883:The book,
683:Bair, D.,
631:2023-02-22
608:References
472:John Donne
464:Happy Days
434:Neil Simon
396:caricature
321:nurseryman
285:rheumatism
258:regiments.
250:From 1877
183:cigarettes
121:colloquial
108:in Paris.
84:Background
1336:How It Is
1092:Footfalls
1085:That Time
573:Edinburgh
516:desuetude
447:hyperbole
419:Gaelicise
415:parochial
403:Windfalls
299:, on the
297:sex fiend
268:Barracks.
223:regiments
145:broughams
141:barouches
49:Dubliners
45:Parisians
37:The Crank
1516:Disjecta
1491:Nohow On
1403:Lessness
1201:Cascando
702:Archived
470:If ever
384:pastiche
266:Infantry
245:Barracks
202:Caterham
131:Synopsis
1586:Notfilm
1540:Related
1438:Company
1424:neither
1417:Fizzles
1113:Rockaby
1099:Neither
1029:Endgame
986:Theatre
356:butcher
309:divorce
301:Assizes
229:in the
211:Chester
198:Chatham
176:gazebos
172:gardens
149:vintner
104:at the
1554:(aunt)
1523:Proust
1315:Molloy
1294:Murphy
1279:Novels
1257:Screen
1219:Eh Joe
1166:Embers
1071:Breath
933:â NOT
388:parody
340:lunacy
1574:(P61)
1144:Radio
1078:Not I
979:Plays
575:with
352:mayor
281:judge
59:with
21:is a
1396:Ping
1301:Watt
1265:Film
1057:Play
560:and
538:and
518:and
187:shag
1570:LĂ
898:âs
436:âs
225:of
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35:(
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