Striking details turn Krapp's Last Tape into a worthy piece of psychological internalization. The symbols at the beginning of the play are intended to drive the viewers attention towards the man and his particular state of mind. The banana, which is commonly referred as a sweet, tropic fruit can be often be interpreted as happiness, yellow as a jolly color, its condition is universally accepted as being enjoyable. However, Krapp completely diminishes its meaning in less than two minutes, diverting its image into a disgusting element of desperation, restlessness. A more pictorial communication is achieved in the filmed play, since this single detail introduces the viewer into Krapp, a consolidated image of madness can be perceived by Krapp trashing completely this symbol. A more comprehensive understanding of the tape is achieved when being exposed to preluding scenes as these ones.
The second "big" symbol is the boxes, the film focuses on the objects brought by Krapp after the banana scene, the first one being a set of vintage boxes and the second being the actual tape. A three minute segment shows Krapp handling the boxes, apparently looking for something. In Krapp's emotional scale its the first time a certain feeling of satisfaction is perceived by the viewer, by no special factor, just a set of boxes. Perhaps the importance of such insignificant symbol is that is the last considerable drive of attention from Krapp before focusing on the tape, and also, a breakthrough in Krapps interior, what can be judged from a elder who finds satisfaction in counting boxes? The interesting part is that at the end of this sequence of events, Krapp ends shoving the boxes from the table, a prolific ending point indeed.
From looking at these two minor symbols, one can conclude that the image striking in film is much stronger than in writing, or at least, more direct. Personally these two images introduced me to the general play, and were big motivators to "Krapp understanding". Despite being considerably less important to the overall meaning of the play, they constitute a strong presence in the viewers notion.
Getting away from plain interpretation, I found myself really intrigued by some of the quotes in the tape, since it hugely juxtaposed the overall setting of the play, it was really sarcastic in a way, since in theory the objectives in a film are to portray images, but in the play, the true image provenience came from the tape, a voice, sound. I reiterate, I want to get away from plain interpretation, I mean, everybody knows Hamlets plot, but not everybody knows how to understand it, you know what I mean? I mean, everybody knows Krapp's last tale, but not everybody knows Krapp. I'm confused with myself by now.
-"Memorable Equinox"
-"Farewell to love"
From a broad interpretation, the viewer (I) can assume a dismal perspective of the past, a fluctuated presented that is nurtured by better times. These are from the first quotes in the play, which come up strong.
I want to quote the next paragraph entirely since I think it constitutes as the most important passage of the play, for being the most shocking, the most vivid and cruel portrayal of Krapps past, not Krapp as a character. It embraces entirely the conceptual truth of Krapps thought since it comes from the tape, and also directs to the tragedy of the self as a whole:
To drink less, in particular. (Brief laugh of Krapp alone.) Statistics. Seventeen hundred hours, out of the preceding eight thousand odd, consumed on licensed premises alone. More than 20%, say 40% of his waking life. (Pause.) Plans for a less . . . (hesitates) . . . engrossing sexual life. Last illness of his father. Flagging pursuit of happiness. Unattainable laxation. Sneers at what he calls his youth and thanks to God that it's over. (Pause.) False ring there. (Pause.) Shadows of the opus . . . magnum. Closing with a --(brief laugh)--yelp to Providence. (Prolonged laugh in which Krapp joins.) What remains of all that misery? A girl in a shabby green coat, on a railway-station platform? No?
I couldn't help on feeling a little unmotivated about life, since, in a way, this could be your life, a mediocre configuration of statistics and shattered hopes, a couple of memoirs of some chick called Byanca and another one which you cant really recall her name. I cant help feeling each one of us are a little Krapp, a freaky old fella with an exemplary remembrance of the past. Definitely, the play is a sick and unmotivated psychological internalization, pure scorn.
What remains of all that misery?
A memorable Equinox
