The theme of Beckett and philosophy can be approached in yet another way. Besides philosophers influencing Beckett, Beckett has also interested – even mesmerised – contemporary philosophers and critics, from Sartre, Lukacs, and Theodor Adorno, to Julia Kristeva, Hélène Cixous, Alain Badiou, Gilles Deleuze, George Steiner,Georges Bataille, Maurice Blanchot, Wolfgang Iser, Slavoj Zizek, and many others. They have all been attracted to Beckett’s relentless vision of the world and our human place in it.They have sought to reflect on Beckett’s meaning from quite divergent points of view, seeking to recruit Beckett to one cause or other: from modernism to postmodernism, from structuralism to deconstruction.
Sartre, himself the author of existential plays such as Huis Clos (1946) saw himself as engaged with his fellow dramatist Beckett in a common cause of producing a drama that ‘decentralised the subject’. The Hungarian Marxist critic George Lukacs saw the Beckett’s work as exemplifying capitalist decadence and abstract bourgeois individualism. The German Jewish philosopher and critical theorist Theodor Adorno, however, strongly disagreed with Lukacs. Endgame in particular had a very powerful impact on Adorno, who saw in Beckett a kind of ‘organised meaninglessness’. For him, Beckett exposes the bankruptcy of philosophy ‘as the dreamlike dross of the experiential world and the poetic process shows itself as worn out.’ Beckett identifies the tedium of spirit of our late age.
Dermot Moran (2006) “Beckett and Philosophy”, in Christopher Murray (ed.), Samuel Beckett – One Hundred Years (Dublin: New Island Press), pp. 93–110. Quote from pp. 100-101.