In his seminal The Theatre of the Absurd, Martin Esslin suggested that Samuel Beckett, in denying his characters individualized facets of humanity, achieved an ‘alienation effect’ that was more profound and assured than Brecht's. Here, Michael David Fox, while agreeing that Beckett denies actors and audiences the kinds of identification achieved in naturalistic drama through Stanislavskian techniques, argues that he demands a different quality of empathy from his audiences – not through the artifice of a character's simulated pain but through the actuality of the performer's physical suffering. While analyzing the demands and constraints upon actors which Beckett imposes in his better-known plays, he also re-evaluates the more ‘occasional’ piece Catastrophe – written in 1982 ostensibly as a homage to the then-imprisoned Czech playwright Vaclav Havel – less as a critique of political terror than as an ironic and devastating self-critique of the terror of Beckett's own tragic representation. Michael David Fox is a doctoral student in drama and critical theory in the Joint Doctoral Program in Drama at the University of California, Irvine and the University of California, San Diego. His dissertation is on the production of empathy in Shakespeare's tragedies. He wishes to thank Robert Weimann, Wolfgang Iser, and Gabriele Schwab for their helpful and generous comments on earlier drafts of this essay.
