Abstract
In order to look more closely at connection between Beckett's film and television work and Chaos theory, the author first attempts a very quick gloss of the new science. Examining more closely the intersection between Chaos theory and Beckett's film and television work, let the reader begin with Film, which was written in 1963. The work rejects the traditional cinematic paradigm of disinterested camera and narrative closure, moving instead toward a structure based on principles the people have associated with Chaos theory. Like other avant-garde artists of the period, Beckett pushes further and further from apparent complexity and monistic closure, instead working toward a culmination of minimalistic complexity and generative consummation. The information contained in one (or all) of Beckett’s teleplays creates a pattern which has no need to revert to deterministic meaning to present its inherent beauty.
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