tape-recording language, which communicates intellectually, but that he somehow lost his understanding and connection with that world. In addition, we’ve seen that Krapp now simply goes through the motions to sustain himself, using his new “lower” discourse not to see the world from a new outlook, but to bite down. Generally language in this play cannot transfer any meaning and they are just some words next to each other that Krapp through them wants to find his own identity. In fact, lots of pauses and hesitations can represent lack of meaning in the things that he is talking
The grain, now what I wonder do I mean by that, I mean . . . (hesitates) . . . I suppose I mean those things worth having when all the dust has–when all my dust has settled. I close my eyes and try and imagine them (69).
As a matter of fact, language is making sound; Language is silence language doesn’t convey any meaning. Besides, pronouncing spool on that way can represent that Krapp is trying to mock language through sound and that way can indicate the negation of meaning in Beckett’s language.
2.4 Krapp’s Last Tape and Body Without Organ
Nomos seems to be the place where one is free to roam about, to travel. This space is a space in which nothing belongs to everyone. The necessary process for nomadism is represented in various conditions that one of these conditions is body without organ (BWO). First we need free ourselves of organs. The order and fixity are problems upon us. The body ruled by organization represents integrity and wholeness, which indicates stable and fixed selfhood. To get rid of this, we must strip ourselves of organs, to become naked and light enough to follow lines of flight. BWO is the beginning of desire. It’s massive flowing through values and vessels. Rejecting body represents rejecting identity. BWO opens the body to new connections, territories and distributions of intensities. In fact, it’s against subjectification and organism. One can show through BWO the possibilities of desubjectification, the lines of flight and deteritorialization.
This reading of Krapp’s Last Tape attempts to follow the traces of nomadic transformation in figures. Aided by Deleuzean trajectories: BWO (Body Without Organ), smooth space of the old age opposed to the striated space of the young age in tapes. This play invites us to seek the variety of ways so as to remove ego doctrine. To do this, he puts forward new ways and new threshold to resist being either this or that in favor of becoming. In this play, we can see the body without voice in the old age represents his freedom from organ and the voice without body in the tape can indicate that he is in the beginning level of flight from his organs in order to be free and pave the way of becoming.
The process of depersonalization exercised on Krapp’s body which is now the beginning to free itself from organs. Repeating the word spool in its childish manner is used to abolish subjectification. In this way, an unfamiliar version of man comes up to show how body and language are interlocked. Krapp seems to order language by recording the tapes but he becomes a stranger and foreigner in his own language when he can’t remember the meaning of the words that he said before
Back on the year that is gone, with what I hope is perhaps a glint of the old eye to come, there is of course the house on the canal where mother lay a-dying, in the late autumn, after her long viduity (Krapp gives a start), and the–(Krapp switches off, winds back tape a little, bends his ear closer to the machine, switches on)–a-dying, after her long viduity, and the– Krapp switches off, raises his head, stares blankly before him. His lips move in the syllables of “viduity.” No sound. He gets up, goes back stage into darkness, comes back with an enormous dictionary, lays it on table, sits down and looks up the word. (reading from dictionary). State–or condition of being–or remaining–a widow–or widower. (Looks up. Puzzled.) Being–or remaining? . . . (Pause. He peers again at dictionary. Reading.) “Deep weeds of viduity” . . . Also of an animal, especially a bird . . . the vidua or weaver bird . . . Black plumage of male . . . (He looks up. With relish.) The vidua0bird! (67).
The division of tape is ironically juxtaposed with a flow of desire that is a prerequisite for making a body without organs. In fact, division of the tapes in different ages can represent with division of identity. The fullness with which organs are imbued makes him feel he has too much of them; consequently, he undoes organs and enters the hazard of the BWO. The dividing up of tape appears to mean the tearing up of man whose subject position is. The schizo program ignites the motor of experimentation by which the desubjectification process begins functioning; destroy man, destroy organ, and destroys structure. Once logos which has so far been occupied by Krapp- writer, literary text, center- dramatically gives way to nomos- “the space where nothing pertains to anybody” (Difference and Repetition 46). Thus, the dividing up the tape, seems to be emptying the man who is drawn to nothingness. Emptied by nothing that is echoed in silence, the fabrication of BWO starts. He is coming to the world of BWO through drinking alcohol and eating banana too much, he is trying to escape from organs in order to come to the world of freedom.
The ego-oriented subject _Deleuze claims_ that has been rampant so far is broken to fragments and move incessantly in variety of directions aiming at production of effects(ibid 477). In Krapp’s obsession with tapes and its following disappointment, one may argue that, he has a void journey to other things. Krapp dismantles his body from organs so as to desubjectify his ego. Although he has constipation, he is eating too much bananas that can indicate that he is the crap of the society because he couldn’t be successful as a writer and also he was a kind of loser in his personal life as a lover. As a matter of fact, his body is kind of deformed; he can’t do any personal activities easily so one can read that inside and outside of Krapp are both ruined and this is the way that he is freeing himself from body.
To make one a BWO doesn’t mean to kill oneself, rather the act of dismantling of organs must make one enter new connections that are impossible insofar as organism is operative. The passages connections, intensities and levels are made possible once body is free from limitive power of organs. Free from organs can be seen in every part of Krapp. He is not organized at all as a human; his disorganized body can show his freedom from body’s limitation in order to pave a way for becoming tape and voice and coming to the line of flight of organs. The initial space Krapp inhabits- 29 years old- is the zone of center and constrained by ideology and hope. This is striated space in which there are center and kind of order but by passing the time in age of 39 and following 69, he is going to be fragmented and nomad and he comes to the smooth space in which there is all freedom and no limitation anymore, there is no center and here everything is decentralized.
The passage from the state of everything to nothing can be translated to Deleuzean transformation from striated space to smooth, nomadic space. One can see in this play that Krapp in the age of 29 is in striated space; however, in the age of 39 and 69 he comes to the smooth space in which he is going through nothingness and he is becoming nomad who belongs to nothing. The exchange of nothingness between different ages in the tapes allows us to come to the realization of the degree zero into which Krapp is increasingly sinking through aging.
2.5 Krapp and Smooth Space
There are two spaces that can be considered here. First, one must note the major difference between striated space and smooth space. While the former is the space directed to a point, the latter is the space of line. It is marked by a smooth directional movement where the point is between lines, it is point-oriented, it is a moving limited between two points on one single line. However, the nomad space finds freedom, it can go everywhere and it can flow through any part. The nomadic BWO is the very perverse. It is perverse as it is ruled by hesitation “this paw that is neither left nor right, this differentiation that is never suppressing the undifferentiated which is divided in it” (The Logic of Sense 281).
Striated space has regular pattern, order, and law. Therefore, its “vertical being” (A Thousand Plateaus 43), top to bottom indicates hierarchy. This vertical arrangement represents a limiting force with its centered space of order and disciplinary. On the other hand, the nomadic space seems to be ‘free action’. Deleuze turns to abolition of ego, to live as a flow and singularity. Unity and identity are useless and he sets forth the concept of becoming and immense of desire. Furthermore, unlike the striated space in which one goes from one definite point to the equally other definite points (which means teleological, linear direction) the nomad space privileges lines over points.
This vacillation between the smooth and striated space is of importance in Deleuzean thinking as he asserts that the two exist in mixture, one is always traversed into the other, the smooth doesn’t remain smooth forever, it constantly returns to the striated as the striated reverses to the smooth. This can read as the care of a nomad state, which is shown in Krapp who doesn’t belong to anywhere. Krapp intensities

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