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Beckett shows death; his people are in dustbins or waiting for God. (Beckett will be cross with me for mentioning God, but never mind.) Similarly, in my play The New Tenant, there is no speech, or rather, the speeches are given to the Janitor. The Tenant just suffocates beneath proliferating furniture and objects — which is a symbol of death. There were no longer words being spoken, but images being visualized. We achieved it above all by the dislocation of language. … Beckett destroys language with silence. I do it with too much language, with characters talking at random, and by inventing words.

 

Eugene Ionesco

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I met Beckett at my brother’s place (the painter Geer van Velde, fh). That was a Big meeting, in capital letters. It was before war started, life was still normal. That time I was very lonely. We saw each other often. Before the war he had published already something, but his fame came in 1953. We never spoke about his work. He was a taciturn man. Sometimes a word escaped from his mouth. Sure, a word you would never forget. It would stick in your head.. ..This friendship with Beckett is the most important experience in my life. He was fully alive for my way of working. What he could express in words, I did with my paintings. (1977, about his contact with Beckett, in Paris before and during the War, fh)

 

Bram van Velde

 

In regard to absurdism, Samuel Beckett is sometimes considered to be the epitome of the postmodern artist ... In fact, he is the aesthetic reductio ad absurdum of absurdism: no longer whistling in the dark, after waiting for Godot, he is trying to be radically silent, wordless in the dark. Beckett tries to bespeak a failure of the logos that never quite succeeds in being a failure, for to speak the failure would be a kind of success. Hence the essentially comic (hence unavoidably and ultimately affirmative) nature of his work.

 

Samuel Beckett

 

The "poetic avant-garde" relies on fantasy and dream reality as much as the Theatre of the Absurd does; it also disregards such traditional axioms as that of the basic unity and consistency of each character or the need for a plot. Yet basically the "poetic avant-garde" represents a different mood; it is more lyrical, and far less violent and grotesque. Even more important is its different attitude toward language: the "poetic avant-garde" relies to a far greater extent on consciously "poetic" speech; it aspires to plays that are in effect poems, images composed of a rich web of verbal associations.
The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself. The element of language still plays an important part in this conception, but what happens on the stage transcends, and often contradicts, the words spoken by the characters. In Ionesco's The Chairs, for example, the poetic content of a powerfully poetic play does not lie in the banal words that are uttered but in the fact that they are spoken to an ever-growing number of empty chairs.

 

Martin Esslin

 

When I was growing up, everyone around me was fond of fooling around with words. It was certainly common in my family, but I think it is typical of Bombay, and maybe of India, that there is a sense of play in the way people use language. Most people in India are multilingual, and if you listen to the urban speech patterns there you'll find it's quite characteristic that a sentence will begin in one language, go through a second language and end in a third. It's the very playful, very natural result of juggling languages. You are always reaching for the most appropriate phrase.

 

Salman Rushdie

 

One of the results of the rapid depersonalization of our age is a crisis of speech, profanation of language. We have trifled with the name of God,we have taken the name and the word of the Holy in vain. Language has been reduced to labels, talk has become double-talk. We are in the process of losing faith in the reality of words.
Yet prayer can happen only when words reverberate with power and inner life, when uttered as an earnest, as a promise. On the other hand, there is a high degree of obsolescence in the traditional language of the theology of prayer. Renewal of prayer calls for a renewal of language, of cleansing the words, of revival of meanings.
The strength of faith is in silence, and in words that hibernate and wait. Uttered faith must come out as a surplus of silence, as the fruit of lived faith, of enduring intimacy.
Theological education must deepen privacy, strive for daily renewal of innerness, cultivate ingredients of religious existence, reverence and responsibility.

 

Abraham Joshua Heschel