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Play: Endgame
HAMM: My house a home for you.
CLOV: Yes. [He looks about him.] This was that for me.
HAMM: [Proudly.] But for me [gesture towards himself] no father. But for Hamm [gesture towards surroundings] no home. |
Play: Waiting for Godot
ESTRAGON: End of the corridor, on the left.
VLADIMIR: Keep my seat.
[Exit VLADIMIR.] |
Play: Come and Go
**** Exits
The figures are not seen to go off stage. They should disappear a few steps from lit area. If dark not sufficient to allow this, recourse should be had to screens or drapes as little visible as possible. Exits and entrances slow, without sound of feet.
**** Ohs
Three very different soun... |
Play: Rockaby
to see
be seen
no
a blind up
like hers
a little like |
Play: All That Fall
MR SLOCUM: [Dreamily.] All morning she went like a dream and now she is dead. That is what you get for a good deed. [Pause. Hopefully.] Perhaps if I were to choke her. [He does so, presses the starter. The engine roars. Roaring to make himself heard.] She was getting too much air! [He throttles dow... |
Play: Waiting for Godot
ESTRAGON: I don't know.
VLADIMIR: No, but I do. It's because you don't know how to defend yourself. I wouldn't have let them beat you.
ESTRAGON: You couldn't have stopped them.
VLADIMIR: Why not?
ESTRAGON: There were ten of them.
VLADIMIR: No, I mean before they beat you. I would have stop... |
Play: Rough for Radio II
S: Past two, sir.
A: [Roughly.] Then what are you waiting for? [Pause. Gently.] Forgive me, miss, forgive me, my cup is full. [Pause.] Forgive me!
S: [Coldly.] Shall I open with yesterday's close? |
Play: Play
|
|
|
M but as if
|
never been– |
Play: Cascando
I open the other.
MUSIC:
OPENER: [With MUSIC] And I close.
[Silence.]
So, at will.
It's my life, I live on that. |
Play: All That Fall
MRS ROONEY: Yes, but what–
MR ROONEY: [Violently.] It is a thing I carry about with me!
[Silence. MRS ROONEY looks for a penny.]
MRS ROONEY: I have no small money. Have you?
MR ROONEY: I have none of any kind.
MRS ROONEY: We are out of change, Jerry. Remind Mr Rooney on Monday and he will give... |
Play: Waiting for Godot
VLADIMIR: Try and walk.
[ESTRAGON takes a few limping steps, stops before LUCKY and spits on him, then goes and sits down on the mound.]
POZZO: Guess who taught me all these beautiful things. [Pause. Pointing to LUCKY.] My Lucky! |
Play: Krapp's Last Tape
Ah well....
[Pause.]
Spiritually a year of profound gloom and indigence until that memorable night in March, at the end of the jetty, in the howling wind, never to be forgotten, when suddenly I saw the whole thing. The vision at last. This I fancy is what I have chiefly to record this evening... |
Play: Waiting for Godot
ESTRAGON: No, nothing is certain.
[VLADIMIR slowly crosses the stage and sits down beside ESTRAGON.]
VLADIMIR: We can still part, if you think it would be better. |
Play: Catastrophe
Director (D).
His female assistant (A).
Protagonist (P).
Luke, in charge of the lighting, offstage (L).
Rehearsal. Final touches to the last scene. Bare stage. A and L have just set the lighting. D has just arrived.
D in an armchair downstairs audience left. Fur coat. Fur toque to match. Age and... |
Play: All That Fall
MRS ROONEY: But you must–
MR ROONEY: [Violently.] All this stopping and starting again is devilish, devilish! I get a little way on me and begin to be carried along when suddenly you stop dead! Two hundred pounds of unhealthy fat! What possessed you to come out at all? Let go of me!
MRS ROONEY: [... |
Play: The Old Tune
[Roar of engine.]
GORMAN: They denied themselves everything, take the bits out of their mouths they would for their Nelly.
CREAM: Don't be telling me they had her on a string all the same the said young lady, remember that Holy Week 1912 was it or 13. |
Play: Catastrophe
[Exit D, not to appear again. A subsides in the armchair, springs to her feet no sooner seated, takes out a rag, wipes vigorously back and seat of chair, discards rag, sits again. Pause.]
D: [Off, plaintive.] I can't see the toes. [Irritably.] I'm sitting in the front row of the stalls and can't see... |
Play: Endgame
CLOV: [Turning towards HAMM, exasperated.] Do you want me to look at this muckheap, yes or no?
HAMM: Answer me first.
CLOV: What?
HAMM: Do you know what's happened?
CLOV: When? Where?
HAMM: [Violently.] When! What's happened! Use your head, can't you! What has happened? |
Play: Rockaby
one blind up no more
another creature there
somewhere there |
Play: Rockaby
all sides
high and low
for a blind up |
Play: Waiting for Godot
VLADIMIR: Do you remember the Gospels?
ESTRAGON: I remember the maps of the Holy Land. Coloured they were. Very pretty. The Dead Sea was pale blue. The very look of it made me thirsty. That's where we'll go, I used to say, that's where we'll go for our honeymoon. We'll swim. We'll be happy.
V... |
Play: Play
|
M all as if
|
never been
|
it will come |
Play: Waiting for Godot
VLADIMIR: No, I mean why did you throw them away?
ESTRAGON: [Exasperated.] Because they were hurting me!
VLADIMIR: [Triumphantly, pointing to the boots.] There they are! [ESTRAGON looks at the boots.] At the very spot where you left them yesterday!
[ESTRAGON goes towards the boots, inspects ... |
Play: Rough for Theatre II
A: May we not be mistaken?
B: [Indignant.] We have been to the best sources. All weighed and weighed again, checked and verified. Not a word here [brandishing sheaf of papers] that is not cast iron. Tied together like a cathedral. [He flings down the papers on the table. They scatter on the... |
Play: Catastrophe
D: Light. [A returns, relights the cigar, stands still. D smokes.] Good. Now let's have a look. [A at a loss. Irritably.] Get going. Lose that gown. [He consults his chronometer.] Step on it, I have a caucus.
[A goes to P, takes off the gown. P submits, inert. A steps back, the gown over her arm. P ... |
Play: Words and Music
WORDS: [Humble.] My Lord.
CROAK: Bob.
MUSIC: Adsum as before.
CROAK: My balms! [Pause.] Age. [Pause.] Joe. [Pause. Thump of club.] Joe.
WORDS: [As before.] My Lord.
CROAK: Age! |
Play: Waiting for Godot
ESTRAGON: Not at all.
VLADIMIR: What an idea!
POZZO: Yes yes, you have been correct. So that I ask myself is there anything I can do in my turn for these honest fellows who are having such a dull, dull time. |
Play: Waiting for Godot
ESTRAGON: You want me to pull off my trousers?
VLADIMIR: Pull on your trousers.
ESTRAGON: [Realizing his trousers are down.] True. |
Play: Catastrophe
[A returns, relights cigar, stands still. D smokes.]
A: He's shivering.
D: Bless his heart. |
Play: Rough for Radio II
A: Hsst!
F: –fatigue, what fatigue, my brother inside me, my old twin, ah to be he and he–but no, no no. [Pause.] No no. [Silence. Ruler.] Me get up, me go on, what a hope, it was he, for hunger. Have yourself opened, Maud would say, opened up, it's nothing, I'll give him suck if he's still a... |
Play: Ghost Trio
21. Move down to tighter close-up of pallet moving slowly from pillow to foot and back to pillow. 5 seconds on pillow.
22. Move back to close-up from above of whole pallet. 5 seconds.
23. Cut back to near shot from C of F, mirror, head of pallet. 5 seconds. |
Play: All That Fall
MRS ROONEY: I asked Mr Barrell to give me his arm, just give me his arm. [Pause.] He turned on his heel and strode away.
MISS FITT: Is it my arm you want then? [Pause. Impatiently.] Is it my arm you want, Mrs Rooney, or what is it?
MRS ROONEY: [Exploding.] Your arm! Any arm! A helping hand! For f... |
Play: Rough for Radio I
HE: I ask no one to come here.
SHE: You suffered me to come.
HE: I meet my debts. |
Play: Endgame
HAMM: Scoundrel! Why did you engender me?
NAGG: I didn't know.
HAMM: What? What didn't you know?
NAGG: That it'd be you. [Pause.] You'll give me a sugar-plum?
HAMM: After the audition.
NAGG: You swear? |
Play: Waiting for Godot
[He looks for a place to sit down, then goes and sits down on the mound.]
VLADIMIR: That's where you were sitting yesterday evening.
ESTRAGON: If I could only sleep. |
Play: What Where
The première of this play took place at the Harold Clurman Theatre, New York, on 15 June 1983. First published by Faber and Faber, London, in 1984.
BAM
BEM |
Play: Waiting for Godot
ESTRAGON: It's inevitable.
VLADIMIR: And his eyes!
ESTRAGON: What about them? |
Play: Ghost Trio
4. F relapses into opening pose, bowed over cassette. 5 seconds.
5. V: Again.
6. Same as 2.
7. V: Now to door.
8. F gets up, lays cassette on stool, goes to door, listens with right ear against door, back to camera. 5 seconds.
9. V: No one. [Pause 5 seconds.] Open. |
Play: Play
[Spot off M. Blackout. Three seconds. Spot on M.]
Am I as much as... being seen?
[Spot off M. Blackout. Five seconds. Faint spots simultaneously on three faces. Three seconds. Voices faint, largely unintelligible.]
[Repeat play.]
M: [Closing repeat.] Am I as much as... being seen?
[Spot off M. Blackout... |
Play: Waiting for Godot
VLADIMIR: [Looking at the sky.] Will night never come?
POZZO: But for him all my thoughts, all my feelings, would have been of common things. [Pause. With extraordinary vehemence.] Professional worries! [Calmer.] Beauty, grace, truth of the first water, I knew they were all beyond me. So I too... |
Play: Rough for Radio II
A: Ah dear! There he goes again. Peter out in the stones!
S: It's a mercy he's tied.
A: [Gently.] Be reasonable, Fox. Stop–you may sit, Dick–stop jibbing. It's hard on you, we know. It does not lie entirely with us, we know. You might prattle away to your latest breath and still the one... t... |
Play: Ghost Trio
|
I.31-34
| |
Play: Rough for Theatre II | Section: Rough for Theatre II
B: I'll read the whole passage: ‘... morbidly sensitive to the opinion of others–' [His lamp goes out.] Well! The bulb has blown! [The lamp goes on again.] No, it hasn't! Must be a faulty connection. [Examines lamp, straightens flex.] The flex was twisted, now... |
Play: Endgame
[Pause.]
HAMM: This is perhaps not one of my bright days, but frankly –
CLOV: You whistle me. I don't come. The alarm rings. I'm gone. It doesn't ring. I'm dead.
[Pause.]
HAMM: Is it working? [Pause. Impatiently.] The alarm, is it working?
CLOV: Why wouldn't it be working? |
Play: Waiting for Godot
VLADIMIR: Question of temperament.
ESTRAGON: Of character.
VLADIMIR: Nothing you can do about it. |
Play: Play
[Spot from W1 to M.]
M: And now, that you are... mere eye. Just looking. At my face. On and off.
[Spot from M to W1.]
W1: Weary of playing with me. Get off me. Yes.
[Spot from W1 to M.]
M: Looking for something. In my face. Some truth. In my eyes. Not even. |
Play: Footfalls
[Pause.]
M: Would you like me to change your position again?
V: Yes, but it is too soon.
[Pause.]
M: Straighten your pillows? [Pause.] Change your drawsheet? [Pause.] Pass you the bedpan? [Pause.] The warming-pan? [Pause.] Dress your sores? [Pause.] Sponge you down? [Pause.] Moisten your poor lips?... |
Play: Quad
|
|
|
4th series:
|
4, 43, 432, 4321, 321, 21 |
Play: Endgame
HAMM: I was never there.
CLOV: Lucky for you.
[He looks out of window.] |
Play: Waiting for Godot
ESTRAGON: Curate!
VLADIMIR: Cretin!
ESTRAGON: [With finality.] Crritic!
VLADIMIR: Oh!
[He wilts, vanquished, and turns away.]
ESTRAGON: Now let's make it up. |
Play: Waiting for Godot
ESTRAGON: Nothing.
VLADIMIR: Show.
ESTRAGON: There's nothing to show.
VLADIMIR: Try and put it on again.
ESTRAGON: [Examining his foot.] I'll air it for a bit.
VLADIMIR: There's man all over for you, blaming on his boots the faults of his feet. [He takes off his hat again, peers inside it,... |
Play: Rough for Theatre II
A: He didn't have it then.
B: [With satisfaction.] Ah! [Pause.] Could never make out what he thought he was doing with that smile on his face. And his eyes? Still goggling?
A: Shut. |
Play: All That Fall
MR TYLER: What sky! What light! Ah in spite of all it is a blessed thing to be alive in such weather, and out of hospital.
MRS ROONEY: Alive?
MR TYLER: Well half alive shall we say?
MRS ROONEY: Speak for yourself, Mr Tyler. I am not half alive nor anything approaching it. [Pause.] What are we st... |
Play: Play
[Spot from W1 to M.]
M: Down, all going down, into the dark, peace is coming, I thought, after all, at last, I was right, after all, thank God, when first this change.
[Spot from M to W2.]
W2: Less confused. Less confusing. At the same time I prefer this to... the other thing. Definitely. There are endur... |
Play: All That Fall
MR ROONEY: It is easier.
MRS ROONEY: Are you very wet?
MR ROONEY: To the buff. |
Play: Waiting for Godot
ESTRAGON: Who?
VLADIMIR: Those two.
ESTRAGON: That's the idea, let's make a little conversation. |
Play: Play
W2: To say I am not disappointed, no, I am. I had anticipated something better. More restful.
[Spot from W2 to W1.]
W1: Or you will weary of me. |
Play: Quad
Four sources of differently coloured light clustered together.
Each player has his particular light, to be turned on when he enters, kept on while he paces, turned off when he exits.
Say 1 white, 2 yellow, 3 blue, 4 red. Then |
Play: The Old Tune
GORMAN: Yes indeed, Mr Cream, yes indeed, that's the way it is. [Pause.] And you, tell me.
CREAM: I was living with my daughter and she died, then I came here to live with the other.
GORMAN: Miss Miss what?
CREAM: Bertha. You know she got married, yes, Moody the nurseryman, two children.
GORMAN:... |
Play: Play
The London production (and in a lesser degree the Paris production) opted for the variation with following deviations from first statement:
1. Introduction of an abridged chorus, cut short on laugh of W2, to open fragment of second repeat.
2. Light less strong in repeat and voices correspondingly lower, g... |
Play: Waiting for Godot
ESTRAGON: What?
VLADIMIR: Hold that.
[ESTRAGON takes Vladimir's hat. VLADIMIR adjusts Lucky's hat on his head, ESTRAGON puts on Vladimir's hat in place of his own which he hands to VLADIMIR. VLADIMIR takes Estragon's hat. ESTRAGON adjusts Vladimir's hat on his head. VLADIMIR puts on Estragon'... |
Play: Ohio Impromptu
Knock. Book half closed.]
Nothing is left to tell.
[Pause. R closes book.
Knock.
Silence. Five seconds.
Simultaneously they lower their right hands to table, raise their heads and look at each other. Unblinking. Expressionless. |
Play: Cascando
OPENER: [With MUSIC.] Full strength.
MUSIC:
[Silence.] |
Play: Catastrophe
A: I make a note. [She takes out pad, takes pencil, notes.] Whiten cranium.
[She puts back pad and pencil.]
D: The hands. [A at a loss. Irritably.] The fists. Get going. [A advances, unclenches fists, steps back.] And whiten.
A: I make a note. [She takes out pad, takes pencil, notes.] Whiten hands... |
Play: Waiting for Godot
VLADIMIR: It's the tree.
ESTRAGON: Yes, but what kind?
VLADIMIR: I don't know. A willow. |
Play: Rough for Theatre I
B: Yes, all right, but why don't you let yourself die?
A: I have thought of it.
B: [Irritated.] But you don't do it!
A: I'm not unhappy enough. [Pause.] That was always my unhap, unhappy, but not unhappy enough.
B: But you must be every day a little more so.
A: [Violently.] I am not unha... |
Play: What Where
BIM: Good. [To bom.] Come.
[BIM exits at E followed by BOM.]
V: Good.
I am alone.
It is summer.
Time passes. |
Play: All That Fall
MR ROONEY: We could have saved sixpence. We have saved fivepence. [Pause.] But at what cost?
[They move off along platform arm in arm. Dragging feet, panting, thudding stick.]
MRS ROONEY: Are you not well?
[They halt, on MR ROONEY's initiative.]
MR ROONEY: Once and for all, do not ask me to spe... |
Play: Krapp's Last Tape
Steal across the sky.
[Gasping.] Went to sleep and fell off the pew. [Pause.] Sometimes wondered in the night if a last effort mightn't –[Pause.] Ah finish your booze now and get to your bed. Go on with this drivel in the morning. Or leave it at that. [Pause.] Leave it at that. [Pause.] Lie pr... |
Play: Ghost Trio
25. Dissolve to S empty. 2 seconds. M1 in robe and skullcap emerges from north shadow, advances five steps and stands facing camera. 2 seconds. He turns left and advances five steps to disappear in east shadow. 2 seconds. He emerges in hat and greatcoat from east shadow, advances five steps and stands... |
Play: Waiting for Godot
[VLADIMIR and ESTRAGON hoist LUCKY to his feet, support him an instant, then let him go. He falls.]
ESTRAGON: He's doing it on purpose!
POZZO: You must hold him. [Pause.] Come on, come on, raise him up! |
Play: Rough for Radio II
S: [Rereading.] ‘Me get up, me go on, what a hope, it was he, for hunger. Have yourself opened, Maud would say, opened up, it's nothing, I'll give him suck if he's still alive, ah but no, no no.' [Pause.] ‘No no.'
[Pause.]
A: And then the tear. |
Play: Ghost Trio
M in set. Hat and greatcoat dark, robe and skullcap light.
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|
|
| |
Play: Endgame
CLOV: Bad.
HAMM: But you can walk.
CLOV: I come... and go.
HAMM: In my house. [Pause. With prophetic relish.] One day you'll be blind, like me. You'll be sitting there, a speck in the void, in the dark, for ever, like me. [Pause.] One day you'll say to yourself, I'm tired, I'll sit down, and you'll go... |
Play: All That Fall
MRS ROONEY: Are you not–
MR ROONEY: Let us get this precipice over.
MRS ROONEY: Put your arm around me.
MR ROONEY: Have you been drinking again? [Pause.] You are quivering like a blancmange. [Pause.] Are you in a condition to lead me? [Pause.] We shall fall into the ditch.
MRS ROONEY: Oh, Dan! ... |
Play: Rough for Theatre II
B: What is it then?
B: [Indifferent.] No idea. Sirius. [He switches on.] Well? Do we work or play? [A switches on.] You forget this is not his home. He's only here to take care of the cat. At the end of the month shoosh back to the barge. [Pause. Louder.] You forget this is not his home.
A... |
Play: What Where
BAM: Then why stop?
BIM: He passed out.
BAM: And you didn't revive him? |
Play: Play
[Spot from M to W2.]
W2: Less confused. Less confusing. At the same time I prefer this to... the other thing. Definitely. There are endurable moments.
[Spot from W2 to M.]
M: I thought.
[Spot from M to W2.]
W2: When you go out–and I go out. Some day you will tire of me and go out... for good. |
Play: Film
Written in English in April 1963. Commissioned for the Evergreen Theater, New York. Filmed in New York in the summer of 1964 and first shown publicly in 1965 at the New York Film Festival. First published by Faber and Faber, London, in 1967.
This is the original project for Film. No attempt has been made t... |
Play: All That Fall
MR TYLER: That is a nice way to treat your defenceless subordinates, Mr Barrell, hitting them without warning in the pit of the stomach.
MISS FITT: Has anyone seen my mother?
MR BARRELL: Who is that? |
Play: The Old Tune
[Roar of engine.]
CREAM: Eh?
GORMAN: Your son the judge. |
Play: Words and Music
WORDS: [Trying to sing this.] She comes in the ashes who loved could not be... won or...
[Pause.]
MUSIC: Repeats end of previous suggestion.
WORDS: [Trying to sing this.] Or won not loved... [Wearily.]... or some other trouble.... [Pause. Trying to sing.] Comes in the ashes like in that old–
... |
Play: All That Fall
[Silence. Rural sounds.]
MR TYLER: What sky! What light! Ah in spite of all it is a blessed thing to be alive in such weather, and out of hospital.
MRS ROONEY: Alive? |
Play: Endgame
HAMM: Is my dog ready?
CLOV: He lacks a leg.
HAMM: Is he silky? |
Play: Footfalls
No trace of MAY.
Hold ten seconds.
Fade out.]
CURTAIN |
Play: Play
M: She was not convinced. I might have known. I smell her off you, she kept saying. There was no answer to this. So I took her in my arms and swore I could not live without her. I meant it, what is more. Yes, I am sure I did. She did not repulse me.
[Spot from M to W1.]
W1: Judge then of my astonishment ... |
Play: Rough for Radio II
S: And the milk, sir, don't forget the milk.
A: The breast! One can almost see it!
S: Who got her in that condition, there's another question for us.
A: What condition, miss, I fail to follow you.
S: Someone has fecundated her. [Pause. Impatient.] If she is in milk someone must have fecund... |
Play: Endgame
[Pause.]
HAMM: If you leave me how shall I know?
CLOV: [Briskly.] Well you simply whistle me and if I don't come running it means I've left you.
[Pause.]
HAMM: You won't come and kiss me good-bye?
CLOV: Oh I shouldn't think so. |
Play: What Where
We are the last five.
It is spring.
Time passes.
First without words.
I switch on.
[Light on P. |
Play: Rockaby
another like herself
a little like
going to and fro
till in the end
close of a long day
to herself |
Play: Waiting for Godot
VLADIMIR: Never heard of it.
POZZO: What is it like?
VLADIMIR: [Looking round.] It's indescribable. It's like nothing. There's nothing. There's a tree.
POZZO: Then it's not the Board.
ESTRAGON: [Sagging.] Some diversion!
POZZO: Where is my menial? |
Play: Rough for Theatre II
Downstage audience left, equidistant from wall and axis of window, small table and chair. On table an extinguished reading-lamp and a briefcase crammed with documents.
Downstage right, forming symmetry, identical table and chair. Extinguished lamp only.
Downstage left door.
Standing motio... |
Play: Words and Music
MUSIC: Loud rap of baton and as before fortissimo, all expression gone, drowning WORDS' protestations. Pause.
CROAK: My comforts! [Pause.] Joe sweet.
WORDS: [As before.] Arise then and go now the manifest unanswerable– |
Play: Waiting for Godot
VLADIMIR: As large as life. [Gesture towards LUCKY.] For the moment he is inert. But he might run amuck any minute.
POZZO: Help!
ESTRAGON: And suppose we gave him a good beating, the two of us? |
Play: Waiting for Godot
ESTRAGON: I've always wanted to wander in the Pyrenees.
VLADIMIR: You'll wander in them.
ESTRAGON: [Recoiling.] Who farted? |
Play: Words and Music
MUSIC: Rap of baton on stand. Soft music worthy of foregoing, great expression, with audible groans and protestations–‘No!' ‘Please!' etc.–from WORDS. Pause.
CROAK: [Anguished.] Oh! [Thump of club.] Louder!
MUSIC: Loud rap of baton and as before fortissimo, all expression gone, drowning WORDS' ... |
Play: Waiting for Godot
ESTRAGON [Faintly.] My left lung is very weak! [He coughs feebly. In ringing tones.] But my right lung is as sound as a bell!
POZZO: [Normal voice.] No matter! What was I saying. [He ponders.] Wait. [Ponders.] Well now isn't that... [He raises his head.] Help me!
ESTRAGON: Wait!
VLADIMIR: Wa... |
Play: Catastrophe
A: To help have him all black.
D: They mustn't.
A: I make a note. [She takes out a pad, takes pencil, notes.] Hands exposed.
[She puts back pad and pencil.]
D: How are they? [A at a loss. Irritably.] The hands, how are the hands?
A: You've seen them. |
Play: All That Fall
MRS ROONEY: Do you want some dung? [Silence. They move on. Wind and rain, etc. They halt.] Why do you stop? Do you want to say something?
MR ROONEY: No.
MRS ROONEY: Then why do you stop? |
Play: Waiting for Godot
ESTRAGON: Give us a chance.
VLADIMIR: [Reassuring.] It's evening, sir, it's evening, night is drawing nigh. My friend here would have me doubt it and I must confess he shook me for a moment. But it is not for nothing I have lived through this long day and I can assure you it is very near the e... |
End of preview. Expand in Data Studio
Samuel Beckett Complete Dramatic Works (CPT Dataset)
This dataset contains the complete, raw theatrical texts of Samuel Beckett's dramatic works.
It was specifically compiled for Continued Pre-Training (CPT) to teach Large Language Models the distinct vocabulary, pacing, and minimalist stage directions characteristic of Beckett's writing style.
Contents
This dataset consists of raw text blocks extracted from:
- Waiting for Godot
- Endgame
- Krapp's Last Tape
- Happy Days
- Play
- ...and other dramatic works and short plays by Samuel Beckett.
Usage
This is Dataset 1 in the two-stage training pipeline for the Beckett-flavored Qwen model.
- Dataset 1 (This Repo): Raw text CPT to absorb vocabulary.
- Dataset 2 (
stageplay-theatre-sft): ChatML structured SFT to learn script format.
Associated Resources
- CPT Dataset:
alst10/beckett-dramatic-works-cpt(This dataset) - SFT Dataset:
alst10/stageplay-theatre-sft - Base Model (Safetensors):
alst10/samuel-beckett-playwriter - Adapter Model (LoRA):
alst10/samuel-beckett-playwriter-lora - GGUF Models:
alst10/samuel-beckett-playwriter-gguf
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