Visual language in the works of Beckett

Introduction
The main question that this article is supposed to answer is whether Beckett in some aspects in line with revolutionary ideas of Antonin Artaud in the field of theater has been to create a kind of perfect theater language and if the answer is yes, what are these different aspects. It can be claimed that it is in line with the ideas of Artaud. Beckett's theatre by negating and psychological claim that basically depends on absolute dictatorship is only follow the fact that is beyond the spoken dialogue to achieve a sort of pure language that independent of the spoken language can directly affect the emotions of spectators.
Artaud sought to rid the theater of realistic aspects and save it from the psychological look-down. In fact, by negating hearing sounds, he appealed the visual language of things. The Beckett works was largely a reflection of what Artaud in theater was looking for. The one who considers the age visual materiality and conceptualization of verbal language of visual language that is, what can language is said independent of the spoken language on the stage, and is meant. In fact, everything that finds its expression in the atmosphere, the Gestures and objects come up to help the characters that whatever that verbal language is not able to express give it objectivity and express it.
If in Beckett's theatre we are supposed to refer to an element to have an inevitable presence, this undoubtedly presence is the presence of objects tied with the object presence. There is always a trace of particular object relationship and character defines itself with relationship with other things. In other words, the characters are constantly hanging objects and their essence gains their meaning from this relation. Ludovicin rightly writes in this regard; Beckett champion while has tied with objects ,is thinking about them so, thanks to their presence what threatens him, distinguishes of what supports him. Beckett hero ties himself to them, twists, cuddles and reads them by name.
Except for dramatic works of Beckett that will be discussed in detail like Waiting for Godot (4), the end of game (5) and Oh, what good days (6) in other Beckett's works, we observe permanent and stubborn presence of objects in the absence of verbal system. Malone, the character of Malone dies and without its presence has no self-existence. However, the presence of characters is also seen in the presence of objects in other works of Beckett, as well that discussing them is out of the goals of this paper. Beckett's Theater by destruction of linguistic signs and playing games with them with reference to weaken role of explicit language on the one hand and signifying the movements and gestures of the characters and their actions on objects and the age on the other hand, has established itself as the theatrical ahead. In other words, the significance of theater in rejection of the theological meaning falls on visual system of objects and this displacement defines the fundamental feature of Beckett's Theatre.
2- Rejection of the reference language
It can be claimed that in the works of Beckett, in general, language has lost its communicative function and is a reason to the existence of personality. In other words, in these works, the characters are reduced to sounds through which are just looking to prove their existence. In Beckett's Theatre, linguistic signs suffers chaos and the contractual relationship between signifier and signified, distorting its language and this chaos with a sign with defamiliarizing the system of common speech, explicit and referral, creates an open system and whereby pave the way for the implications, the metaphorical and symbolic way. Thus, due to confusion of the system of sign system it could be argued that Beckett's Theatre as Artaud had asked it upsets the sleep of peace signs and meaning. In other words, often, we can claim that the games of verbal cues and perplexity and floating of signifiers guides us to definite level of meaning to a deeper level of meaning that is the position of lack of meaning determination. Thus, as Artaud had said the dominance of meaning becomes meaningful. On the one hand the ceaseless repetition of verbal signs and sounds and floating signifiers that it can be interpreted it hide game of words and on the other hand, the repetition of the movements and gestures of the characters and their interaction with objects either precludes follow-up and practical progress that has been started or incessantly is repeated so that paradoxically, despite much displacements, the whole theater seem static and coherent. Thus, George Gooden considers Beckett's Theatre at the height of irregularities with certain order. However, shape in the works of Beckett in some way following induction, looking extremely confused and disturbed emotional mood but if we more sophisticatedly analyze these works, we will see that everything is well calculated. So, in Beckett's theater, talking loses its communicative function to find other functions. Characters speak to know who they are; actually talking to them means "to be heard", in the sense they are a man among other human beings. They are not communicating with others via talking, but by being heard and being understood perceives that they exist. Therefore, often, most of wandering signifiers are linguistic signs that are spoken only to provide the language existence. The characters are aware signify weaknesses in the spoken language.
Winnie, the character of" Oh what good days" says: the words leave you; yes they leave you, good until they come, what we can do? Do we make up? If did not and if doubt to cleaned our nails, if they have a need to clean up.
In the end of the game I use the words you taught me. If they you do not want others to say something, teach me other words or let me be silent.
In fact, like Artaud, beyond the word language resorts to visual things. Therefore, the language of objects with insistent presence and dramatic function of, symbolic and philosophical, has an important place in the works of Beckett
3- Dramatic function of objects
In the works of Beckett, the decor is bare and naked; a dry tree in a remote mountain road in Godot play, an unfurnished room at the end of the game, a table in an unkempt room at the last band, a plain with burned grasses yearning for good days but, the scenes are full of different objects. Winnie yearning for the good days carefully inspects his luggage and pours out his toothbrush, toothpaste, spectacle frames, glasses, jars, magnifying glass, comb, nail file, a revolver and a box containing a collection unrelated things out. In the last band, the crop before saying something carefully inspects his pocket and picks out an envelope and a bunch of keys. He, with the main category opens the sliding door and takes out a pulley and a banana and other drawers also contain other reels. In the play "waiting for Godot " Estragon carefully inspects his dirty pockets. Lacquered also with a heavy baggage, a folding chair, an envelope and Mantos that is in his hand, he himself hardly moves and takes out one chicken, a loaf of bread and a bottle of wine from the outer envelope. At the end of play also a stool, scarves, watches and glasses constantly develops the dialogues of characters.
These things sometimes have comic pure functions such as goofy hats in Godot play, shoes worn by Estragon, the method through which Vladimir repeatedly took off his hat, looks inside it, moves it, puffs it and wears it again in fact, it shows the exchange of characters in Godot play; or playing with suitcase that Lucky puts it down and picks it again, a move that repeats over again, and in fact, evokes ridiculous moves of the circus or the banana skin that Crop in the last Bond stumbles and falls down.
Based on the comic strip style, we see the eternal game of systematic character. However, in the play waiting for Godot all play goes around with playing with shoe; thus, as soon as climbing curtains, Estragon tries to take off also with double hands. He concentrates all his efforts and then takes a deep breath and come back with all his energy and resumes his effort. A few moments later the same game is resumed and eventually he succeeds to take off his shoes. At the end of Act I, he carries shoes in hand and puts them on a corner. At the beginning of the second act, the shoes are re-emerged again and at the end of the play, Estragon after a second attempts to remove the shoes, rests a moment of and finally gets up and hand it. Therefore, playing with shoes that display begins with and finishes and this type of valuing stands out is continually causing pause in forwarding process of the story.
4- The symbolic meaning of objects
In Beckett's theater the objects do not have comics and scenic function but, their selection is not without intention and thus they can be induced to carry a symbolic meaning, or at least regard them with symbolic interpretation. The rope that in waiting for Godot Play Lucky draw up and the whip that Pozzo caries in his hand symbolizing the meaning of cruel, slave and boss relationship. At the end of the game, Hamm's whistling for calling Clough is like whistling for dogs is sign and more closely associated with the relationship between the slave and the server. . In the act of speechless, the whistle comes from an unknown source and makes the character speak mechanically, is the symbol of tyranny that will convert humans into machine. Therefore, whips, ropes and whistles can all symbolic meaning of all bullying powers that imprison the people.
In the play Waiting for Godot, Pozzo's tempting and anxious look to watch him that lest! "The time has been stopped" and at the end of the game, the presence of an hour that its echo might be the symbolic presence of the characters to the time; the moment that the characters are aware of its reach, but they are always fun not to think about that.
The vain Estragon's attempt to take his shoes off can be symbolized entertaining and vain struggle of man in confrontation with the bitterness of the universe. However, the first sentence of this play expresses this vain endeavor. The emptiness of shoes and hat that Estragon and Vladimir are strongly shaking them up and examine them so that something fell down them in fact, symbolizes meaningless and empty lives. Therefore, it seems that human accuses outside world futile and because of his inability and challenges it. As result, the man who blames his shoes while the real bad are foot moreover; the decoration elements also stands for aging, destruction and death. The Dry tree in the plays waiting for Godot; If this tree blossoms on a single day, not meant to induce change and the passage of time, but it emphasizes more wandering of characters in time and place . At the end of the game, open space room with high windows, the curtains fell back on the bare walls and bare panel all mean denying any connection with external living world and declining internal world. In fact, according to Francois Noddlemen" in the world of Beckett the reproduction is much of a tragedy"