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I thought you said hell. Oh, yes! Okay! You don't want them in the show, but they... Anyone, not.... irgendwas de amor. You have to take yourselves to the jail room and have to hand out Uh... I did what you talked about! I did what you talked about! I did what you talked about! I did what you talk about! You're getting better than I thought! And we... Are they real, Martin? Where do we come? Off his knees, as bad as that. That's what makes non- textingate香years We should sell this for our creatives, I don't have any rights anymore! Thank you! You make me laugh if it wasn't prohibited, we lost all rights. We got rid of them.
Everything about the book is a part of penitentiary, and from what I can see, try to guess that we all had hard times, and maybe Beckett had a hard time, little bit of, you know, little bit of captivity in his life. It may not have been in the penitentiary, but he may have been running for something, but you know, I mean, because it's too real, you know, for a person to just write some about this and be fictitious, you know, it's too real, man. This is the front line, and then it's a square stage. You know, it's a square stage. Yeah, it's a wrap, but that's mine. I think this is the... What is the border? What is the border?
No, it's not. No, it's not. Now, listen, the tree is nowhere near, up here, closer to the star. What is the border? Right. Well, see, by the way, well, we're not going to sight that, but we just turn around, and then the tree goes to the border like, oh, because we turn, turn in that way. Look at the way. That's what I told you. It's true, happy, looking. I mean, that stone... That stone... And you take the other end of the tree. John... Ah! That's what I'm doing, based on audience. Now you're facing the audience, and then you see him... We've seen him. Yeah. And the stage is to square it up. Just like you square it. I checked it out. Yeah. It's going to be a cross, right? It's going to be a cross, right? Okay. Now, that's the tree's head. The tree is right here. The stone's right here. The stone's right here. The cross. The twin come walking in like this. Straight across the cross. The twin, the tree, and the stone.
You see what I'm saying? Yeah. Right in the middle. Right in the middle of the stage. You know? Did you have the cross in the middle of the stage? Yeah. Like this. That's the way we are with it. All right. Can you show us? Did you not know that, man? Did you not know that? Did that ever happen to you, man? That's how it is on this picture. What do you say to proceed, you? I'm interested in acting. Why is people acting? Of the few weeks suddenly saw a new dimension of what acting is. Because it was real. It was real. It was not acting. It was not that kind of technique, which can be very dead, boring, routine. Nothing to be done. I'm beginning to come around to that opinion on my life of trying to put it from me, saying
it's black in here. It's reasonable. You haven't yet tried everything. And I resumed the struggle. It's not the factor of learning how to act in prison. It is an act. Being in prison, don't nobody want to be in prison. So in order to go to the board of a classification and take these things that they want you to bring into them, it's all an act. I think the whole thing is... I don't think nobody just comes to prison, just do the time. As you have to adjust, you have to deal with it, and you have to fake it. Answering you when you're asking the question at the beginning, just wait. So come back with that again? No. You know what I'm saying? He said, it's more like a compensate. You ain't going to speak until you hear what I'm saying.
You know, and then that fight of words, and you're not going to get to clicking on an asset. See, there's too much acting on a pen searcher, and it's just to write enough acting. You have some that come in and try to put up that tough role. They're acting. You got something that's better than others. You got some that's planning so hard that you're going to have this guy over here when he tried this guy. And when he tried this guy, he'll have to kill this guy here. You know, lay him dead out on the upper yard. You know, that's showing that that guy there wasn't acting well enough. Two things. Crucified is the same time as our Savior. One, our web. Our Savior. The two thieves. One is supposed to have been saved, and the other one, saved from what? This is not born, you know, I hope. How is it that other for a valueless, only one speaks of a deep being saved? What out of four? Do don't mention any thieves at all, and the third says that both of them abuse him.
Who? What? Let us just all about abuse. Who? The Savior. Why? Because he wouldn't save him. From him? I thought you said him? From dead. From dead will one of them. Then the two of them must have been damned! And why not? But why are the four of them wanting to save? Well, they don't agree, that's all there is to it. But I'll go with it, and I'll go with it, and only one speaks of a deep being saved. Why you believe him? Rubbed in the other is who believes him. Everybody is the only version they know. People of bloody ignorant hate. Thank you. Sometimes I said to myself, I never heard that line before because he said it from his nerve system, from his stomach in the beginning. They know what silence is about and silence on the stage is very important. Half of the play is silence.
So many times they have been saying to me that they are just standing by the doors, by the bars and just listening to the silence. That's a language they really understand. The life is just standing still. They still uphold that dignity and that constantly keep faking that they will become free. But sometimes that pain awaits because that's mental to them. They will get in the stage of fright and some will just crawl and just ball up in the corner and just go inside.
You know, just lose all they said. Our song would just hang themselves because they came deal with it. Is that happening? Because they tired of waiting. Let's say it ourselves. With what? We haven't got a bit of hope. No. Then we can't. Let's go. Wait. There's my bill. It might be better if we try it. We can hang ourselves tomorrow. I'm basically alone or anywhere. But he ain't have a will bringing me back.
Sometimes a few times he'd come over there. What's going on, man? You don't love me no more. What's going on, man? He used to come to the gym. What's health center? And around that time I was doing a little boxing. You know, more or less teaching, y'all sense how to get out of things like that. And he used to be one of them that come up in there. Where did you spend the night? Don't touch me. Don't question me. Don't speak to me. Stay with me. Did I ever leave you? You let me go. Look at me. Where are you looking at me? What are you doing? It's like it, man. You want me to sing it like it is in the book?
No, sing it the way you sing it. You're like it is in the book. The dog came in the kitchen and stole across the bread. Then cooked up with a ladle and beating till he was dead. Then all the dogs came running and dug the dog at home. Then I put on my shades. We're there. I put on my shades. Then all the dogs came running and dug the dog at home. Then run up on his tombstone for the eyes of the dogs to come. The dog came in the kitchen and stole across the bread. Then cooked up with a ladle and beating till he was dead. Then all the dogs came running and dug the dog at home.
Then all the dogs came running and dug the dog at home. Then all the dogs came running and dug the dog at home. Then all the dogs came running and dug the dog at home. Then all the dogs came running and dug the dog at home. Coming to you by next week the record won't be it.
Today when we came to the prison we couldn't rehearse. All the black people was looked up. It was some stabbing. Didn't they get you another blank? Yeah. How is that a clue? All the blacks are looked up? Yeah. And they heard anything from tomorrow? No, I haven't heard that. It's probably the same thing. I mean it's so many different things happening every day. Every day. Big things, small things. We were standing up by the office and I saw this escort in an orange suit with change around their feet where they can take short steps and there's a change around their stomach and the hands are locked up to the stomach.
Oh! And then my guys say, that's the play. And that is put some luck. Hey! Let me go. Stay where you are. Be careful. He's wicked with strength. Is that him? Who? Good old? Who is good old? Oh, he's a kind of acquaintance. Nothing other kind. We hardly know him. True. We don't know him very well. But all the same. Personally, I would know him even if I saw him. You took me for him? Well, best to say you understand that does the strain waiting. I confess, I imagine, for a second. Waiting. So you're waiting for him?
Well, you see, here on my land, we didn't intend any harm. We've been well, rolled a street job. That's how we looked at it. It's a disgrace, but there you are. Each day that you live in prison, you're waiting on something. You're waiting to talk to these K-9s about a phone call that you never make it. You wait on a letter that you may never get. You wait for a release date that may never get there. It's providing you have a life top, which each one of us have. So life means forever. You know what I'm saying? I didn't get you that feeling. You know, well, I don't make this my home. I don't make it count. I mean, each little spot around you try to reframe it as though it's a little familiar to you. It's like you live in the past, you know? I mean, you walk and you're going down the tier, but your mind is on a hundred and a third and woman to the sum on the streets. So each day a certain individual in his cell, he's asking himself, what is he doing here?
But he's also saying to himself, I always tomorrow. But then again tomorrow never gets here, but it always passes. You might sleep through tomorrow. When you wake up, there's an extra day there for you. You didn't lost out. Whatever you didn't done, that day is gone. It's forgotten. But you perceive to the next room. Here we go. Pull on your trousers. What? Pull on your trousers. You want me to pull it down like trousers? Pull on your trousers. Oh, true. Well, shall we go? Yes. Let's go. Yes.
Yes. Yes. Yes. Yes. Yes. Yes.
Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. And what was the most fun? Yes. Yes.
We did. They said they had to give you a little boost. I didn't make it last night. It wasn't. First time I flew. I had butterflies. I didn't fly anywhere. I just told me he was going to steal something. I'm really interested in what that's going to be. It's quite a compliment. I know it is such. But I hope you just really do well in New York. Many congrats. This will be for any heart after the hard time now, after it's closed. Thinking back. Yeah, the bittersweet. How about the blinds? How did you work on that? Well, I closed my eyes to you too. How long is it all the time? I'm really blindfolded. It's exactly what I'm doing.
It's the only one. The other way you can do it. What about the stuff we get stuck on the ground? I can't figure that out. Why can't you get up? Yeah. I can't believe it. I can't believe it. I can't believe it. Are you playing a play tonight? The way that I understand it's like they were waiting. Waiting for freedom. They're locked up. God doesn't answer. No one doesn't seem to answer. There's no help. They keep waiting for a change. They keep waiting for something better. But at the end, it kind of like when I heard the music. I kind of cried in a way because I thought about him personally, crying out for help. I'm in here.
I'm not mad. I mean, that makes sense to you. It's just a lot, you know, that I can, you know, I'm human too. Many times when you get up and just say, here, I'm here. You know, I'm here. Let's go. Everything's okay, you know. I just, you know. Oh, boy. There we go. He gets on me about this. It's the emotion. You know, no pretence. You know, as a mother, it hurts, you know. He's doing a great job. This is something that he talked about for months and that he felt that he can do. And I was 100% by him. Even though I was on the telephone, you know, and I'm proud of him. He said he's going to pursue, you know, the acting. You know, I'm going to send it to him. We don't get you out in time.
The inmates won't get the shower. It's going to come down to it. Okay, I'm sure they'd like to get the showers. You guys need me. Tomorrow, when I wake, I think I do. What shall I say of today? That would ask the guy, my friend, at this place, until the fall of night. I waited for a good though, a stride of a grave and a difficult birth. Down in the hole, lingeringly, a grave digger puts on a forcehouse. If we have time to grow old, the air is full of our cries. But a habit is a great dead nut.
At me too, someone is looking off me too, someone is saying, he is sleepy. He knows nothing. Let him sleep on. I can't go on. What have I said? What have I said? What have I said?
What have I said? What have I said? What have I said? What have I said? What have I said?
What have I said?
Program
Waiting for Godot in San Quentin
Producing Organization
Global Village Video
Contributing Organization
Media Burn (Chicago, Illinois)
AAPB ID
cpb-aacip-ade149d2250
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Description
Program Description
Documentary about the staging of 'Waiting for Godot' in prison.
Created Date
1998-01-01
Asset type
Program
Genres
Documentary
Subjects
Beckett, Samuel, 1906-1989
Media type
Moving Image
Duration
00:27:04.123
Embed Code
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Credits
Director: Reilly, John
Director: Smith, Melissa Shaw
Producing Organization: Global Village Video
AAPB Contributor Holdings
Media Burn
Identifier: cpb-aacip-81147461f5d (Filename)
Format: 1 inch videotape
Generation: Master
Duration: 00:28:00
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Citations
Chicago: “Waiting for Godot in San Quentin,” 1998-01-01, Media Burn, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 17, 2024, http://americanarchive.org/catalog/cpb-aacip-ade149d2250.
MLA: “Waiting for Godot in San Quentin.” 1998-01-01. Media Burn, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 17, 2024. <http://americanarchive.org/catalog/cpb-aacip-ade149d2250>.
APA: Waiting for Godot in San Quentin. Boston, MA: Media Burn, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-ade149d2250