• Home (Essays upon S. Beckett's theatre)
• Beckett's theatre : the character as a philosopheme
• Did Samuel Beckett find the inspiration of Happy days in Un Carnet de bal by Julien Duvivier ?
• How and why Samuel Beckett deceived the critics of Waiting for Godot
• Samuel Beckett stripped bare by his authors, even
• Samuel Beckett's Endgame : against Hegel's Phenomenology of Mind
• The end of Art and the Advent of a money-governed world in Waiting for Godot 
• "Life : a game that always gets lost." For Endgame, Samuel Beckett got the idea from the French critic Sainte-Beuve. 
• Endgame: Beckett and Aristotle
• Evil in Beckett's theatre
• Master and disciple in Beckett's theatre
• Waiting for Godot: Beckett and Proust
• Wainting for Godot and The Temptation of Saint Antony (Flaubert)
• Beckett's Miscellanies

Gérard Piacentini :
"Le thème du maître et du disciple dans le théâtre moderne et contemporain",
Revue d'histoire du théâtre, n° 3, 2001, pp. 165-204

(The theme of the master and the disciple in modern
and contemporary drama)

Pierre Corneille's Cinna has been a founding for modern drama. This play establishes the importance of the self-control of a central character for individual happiness and social harmony. Then, from Molière to Beckett, the authors criticised this point of view, putting on stage a couple, consisting in a master and a disciple. The master is an elderly man related to knowledge, a philosopher, a scientist or a teacher who embodies the ethical value of self-control. The disciple is a younger man wishing for a moral behaviour imitated from his master but yearning for pleasure and an empirical life. Except in Samuel Beckett's Endgame, the Characters that observe the moral law of self-control are destroyed, and those who don't, save themselves.