Cascando (1962) by Samuel Beckett (Type of Work)

 

Cascando (1962)

by Samuel Beckett

(Type of Work) 

Type of Work

Samuel Beckett’s Cascando (1962) is a highly experimental work that defies conventional classification, occupying a unique space between theatre, poetry, and musical composition. It is neither a traditional play with a linear plot nor a conventional narrative in prose or verse. Rather, it is a dramatic meditation on language, sound, and the impossibility of closure, making it a quintessential example of Beckett’s late, minimalist style.

At its core, Cascando is an experimental play, often categorized under the genre of “radio drama” or “spoken-word theatre,” though these labels capture only part of its essence. The work consists of three main figures: the Voice, the Reader, and the Listener. The Voice attempts to tell a story, but repeatedly fails to reach a conventional ending. The Reader follows and echoes fragments of the Voice’s speech, while the Listener silently receives the words. The interactions among these figures are less concerned with dramatic action than with sound, rhythm, and the musicality of language, making the play almost a hybrid between spoken theatre and musical composition.

In terms of structure, Cascando can be seen as a theatrical poem or a verbal symphony. Beckett himself emphasized the musical dimension of the work, instructing performers to treat the text rhythmically, with careful attention to pauses, inflections, and the layering of voices. Unlike traditional drama, which relies on plot, character development, and stage action, Cascando focuses on process over resolution, exploring the tension between the desire to complete a story and the inherent limitations of language. This positions it within Beckett’s broader oeuvre, which consistently interrogates the boundaries of communication and the human condition.

Additionally, Cascando reflects elements of absurdist theatre, a movement with which Beckett is closely associated. Absurdist works typically depict the futility of human endeavor and the breakdown of conventional meaning, and Cascando exemplifies this through its refusal to provide a coherent narrative or clear resolution. The play is less about “what happens” and more about the act of attempting, the struggle to articulate, and the ephemeral nature of expression itself.

In conclusion, Cascando is best understood as a hybrid, avant-garde work that combines elements of drama, poetry, and music. It is a play without traditional plot or action, a verbal composition that emphasizes rhythm, repetition, and the impossibility of narrative closure. As such, it challenges audiences to reconsider the very nature of theatre and storytelling, making it a landmark work in twentieth-century experimental literature.