In traditional dramaturgy, silence is merely a pause in the dialogical exchange. However, in contemporary theater, and particularly in that of Samuel Beckett, silence is liberated from its role as an auxiliary to speech, and constitutes a language in its own right. This new vision of scriptural practice enabled Samuel Beckett to innovate and produce original, revolutionary plays. Drawing on semiotics and hermeneutics, this contribution sets out to expose the distinctive marks of this language of silence, while revealing its undeniable capacity to translate the interiority of Beckett's protagonists and his artistic and social project.
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