An exploration of Samuel Beckett's dramatic works, using the criteria that ensue from the works themselves, with particular attention given to the relationship between the medium and the message. In the chaotic vortex that characterizes some of the plays, and within the darkness and the silence of Beckett's Offstage, a profoundly human message is revealed.

An exploration of Samuel Beckett's dramatic works, using the criteria that ensue from the works themselves, with particular attention given to the relationship between the medium and the message. In the chaotic vortex that characterizes some of the plays, and within the darkness and the silence of Beckett's Offstage, a profoundly human message is revealed.

Survival is a leitmotif in Canadian and Israeli experience: for one, it is linked with climate and nature; for the other, the association is historical and awesome; for one, space runs away; for the other, space threatens ghettoization. Immigrants in both countries were faced with re-shaping their given spaces and re-crystallizing their personal and national identity in a new environment. Both theatre traditions, bringing with them authentic aspirations to meet at cross-roads between old and new.

A discussion of the Bible's resemblance to theatre, with the author arguing that the fear the ancient Hebrews felt for theatre was based on its highly creative potential as a rival Creator, not its gaudy aspects. God, in theatrical terms, is The Great Offstage Being.

A discussion of the Bible's resemblance to theatre, with the author arguing that the fear the ancient Hebrews felt for theatre was based on its highly creative potential as a rival Creator, not its gaudy aspects. God, in theatrical terms, is The Great Offstage Being.