What are you waiting...?

...to happen in your life in 40 minutes?

...to happen in your life in a week?
...to happen in your life in 3 years?
...to happen in your life in 10 years?
...to happen in your life in 30 years?
Waiting for Godot
by Samuel Beckett
 The Theater of the Absurd
The Theatre of the Absurd is a theatrical style originating in France in the
late 1940s. It relies heavily on Existentialist philosophy, and is a category
for plays of absurdist fiction, written by a number of playwrights from the
late 1940s to the 1960s, as well as the theatre which has evolved from their
work.

It expresses the belief that, in a godless universe,

human existence has no meaning or purpose and
therefore all communication breaks down.
Logical construction and argument give way to
irrational and illogical speech and as its ultimate
conclusion, silence.
 Theater of the Absurd follows the
concepts of existential philosophy

• The theatrical style aims to show a world where

man is born with only himself and nothing else
(no God).

So, it means {and keep it in mind} :

GODOT is not GOD!

 Theater of the Absurd?? What???
Critic Martin Esslin coined the term
"Theatre of the Absurd" in his 1960
essay and, later, a book of the
same name. He related these plays
based on a broad theme of the
Absurd.
 The Absurd in these plays takes the form
of man’s reaction to a world apparently KEEP
without meaning, and/or man as a IN
puppet controlled or menaced by
invisible outside forces.
MIND

Repetition of characteristics in other plays

• Broad comedy mixed with horrific or tragic images.

• Characters caught in hopeless situations forced to do repetitive or
meaningless actions.

• Dialogue full of clichés, wordplay, and nonsense.

• Either a parody or dismissal of realism and the concept of the

wellmade play.

• The Theatre of the Absurd shows the failure of man without

recommending a solution.
Some characteristics you should observe
when reading the play!
Often Absurdist works utilise theatrical conventions such as:
•Mime
•Gibberish
•Heightened
•Language
•Vignette*

* short, impressionistic scenes that focus on one moment or give a particular insight into
a character, idea, or setting.
These characterisitcs will provoke
the absurdity in the play
As the plays generally lack conflict, they use these
characteristics to provoke some high levels of contrast,
alienation, and irony.

For example, a funeral scene performed by actors happily, or a birthday scene

performed somberly.
 Let’s conclude this theoretical part
Plays within this group are absurd in that they focus not on logical
acts, realistic occurrences, or traditional character development;
they, instead, focus on human beings trapped in an incomprehensible
world subject to any occurrence, no matter how illogical. The theme
of incomprehensibility is coupled with the inadequacy of language to
form meaningful human connections. According to Martin Esslin,
Absurdism is "the inevitable devaluation of ideals, purity, and
purpose "Absurdist drama asks its viewer to draw his own
conclusions, make his own errors". Though Theatre of the Absurd
may be seen as nonsense, they have something to say and can be
understood. Esslin makes a distinction between the dictionary
definition of absurd ("out of harmony" in the musical sense) and
drama's understanding of the Absurd: "Absurd is that which is devoid
of purpose.... Cut off from his religious, metaphysical, and
transcendental roots, man is lost; all his actions become senseless,
absurd, useless".

CHARACTERS
 ESTRAGON
Estragon is one of the two protagonists. He is a bum
and sleeps in a ditch where he is beaten each night. He
has no memory beyond what is immediately said to
him, and relies on Vladimir to remember for him.

Estragon is impatient and constantly wants to leave

Vladimir, but is restrained from leaving by the fact that
he needs Vladimir. It is Estragon's idea for the bums to
pass their time by hanging themselves.
 VLADIMIR
Vladimir is one of the two protagonists. He is a bum
like Estragon, but retains a memory of most events.
However, he is often unsure whether his memory is
playing tricks on him. Vladimir is friendly to Estragon
because Estragon provides him with the chance to
remember past events. Vladimir is the one who
makes Estragon wait with him for Mr.
Godot's imminent arrival throughout the play.
 Estragon has been compared to a body
without an intellect, which therefore needs
Vladimir to provide the intellect.

Vladimir has been compared to the intellect

which provides for the body, represented by
 POZZO
Pozzo is the master who rules over Lucky. He stops and
talks to the two bums in order to have some company.
In the second act Pozzo is blind and requires their help.
He, like Estragon, cannot remember people he has met.
 LUCKY
Lucky is the slave of Pozzo. He is tied to Pozzo via a rope
around his neck and he carries Pozzo's bags. Lucky is only
allowed to speak twice during the entire play, but his long
monologue is filled with incomplete ideas. He is silenced only
by the other characters who fight with him to take of his hat.
Pozzo appears blind in the second act. His transformation
between the acts may represent the passage of time.

Lucky appears as a mute in the second act.

 BOY
The boy is a servant of Mr. Godot. He plays an identical role
in both acts by coming to inform Vladimir and Estragon that
Mr. Godot will not be able to make it that night, but will
surely come the next day. The boy never remembers having
met Vladimir and Estragon before. He has a brother who is
mentioned but who never appears.
To existentialist writers, the universe is a
foreign and indifferent place. Every aspect
of creation, including the universe itself, is
pitted against the individual. Existence is
meaningless and oblivion both before
birth and after death-
save for the fact that
great suffering and
anguish mark the
plight in between
these ends.
Although very existentialist in its characterizations,
Waiting for Godot is primarily about hope. The play revolves
around Vladimir and Estragon and their pitiful wait for hope to
arrive. At various times during the play, hope is constructed as a
form of salvation, in the personages of Pozzo and Lucky, or even
as death. The subject of the play quickly becomes an example
of how to pass the time in a
situation which offers no
hope. Thus the theme of the
play is set by the beginning:
Estragon: Nothing to be done.

Vladimir: I'm beginning to come round to that opinion.

Although the phrase is used in connection to

Estragon's boots here, it is also later used by
Vladimir with respect to his hat. Essentially it
describes the hopelessness of their lives.
 A direct result of this hopelessness is the daily
struggle to pass the time. Thus, most of the play is
dedicated to devising games which will help them
 pass the time. This mutual desire also addresses
the question of why they stay together. Both
Vladimir and Estragon admit to being happier
when apart. One of the main reasons that they
continue their relationship is that they need one
another to pass the time.

After Pozzo and Lucky leave for the first time they
comment:
V: That passed the time.
E: It would have passed in any case.
And later when Estragon finds his
boots again:

V: What about trying them.

E: I've tried everything.
V: No, I mean the boots.
E: Would that be a good thing?
V: It'd pass the time. I assure you, it'd be an occupation.

Since passing the time is their mutual occupation, Estragon

struggles to find games to help them accomplish their goal.
Thus they engage in insulting one another and in asking each
other questions.
 The difficulty for Beckett
of keeping a dialogue
running for so long is
overcome by
making his characters
forget everything.
Estragon cannot
remember anything past
what was said
immediately prior to his
lines. Vladimir,
although possessing a
better memory, distrusts
what he remembers. And
since
 Vladimir cannot rely on
Estragon to remind him of
things, he too exists in a state
of forgetfulness.
Another second reason for why they are together arises
from the existentialism of their forgetfulness. Since
Estragon cannot remember anything, he needs Vladimir to
tell him his history. It is as if Vladimir is establishing
Estragon's identity by remembering for him. Estragon also
serves as a reminder for Vladimir of all the things they
have done together. Thus both men serve to remind the
other man of his very existence. This is necessary since no
one else in the play ever remembers them:
Vladimir: We met yesterday. (Silence) Do you not
remember?
 Pozzo: I don't remember having met anyone yesterday.
But to-morrow I won't remember having met anyone today.
So don't count on me to enlighten you.
Later on the same thing happens with the boy
who claims to have never seen them before.
This lack of reassurance about their very
existence makes it all the more necessary that
they remember each other.
Estragon and Vladimir are not only
talking to pass the time, but also to
avoid the voices that arise out of the
silence. Beckett's heroes in other
works are also constantly assailed by
voices which arise out of the silence,
so this is a continuation of a theme the
author uses frequently:
E: In the meantime let'sSilence.
try
and converse calmly, sinceV: Rather they whisper.
we're incapable of keepingE: They rustle.
silent. V: You're right, we're
V: They murmur.
inexhaustible. E: The rustle.
E: It's so we won't think.Silence.
V: We have that excuse.V: What do they say?
E: They talk about their lives.
E: It's so we won't hear.V: To have lived is not enough for them.
V: We have our reasons.E: They have to talk about it.
E: All the dead voices. V: To be dead is not enough for them.
E: It is not sufficient.
V: They make a noise like wings.
Silence.
E: Like leaves.
V: They make a noise like feathers.
V: Like sand. E: Like leaves.
E: Like leaves. V: Like ashes.
E: Like leaves.
Silence.
 Long silence.
V: They all speak at once.
E: Each one to itself. V: Say something!
 One of the questions which must be answered is why the
bums are suffering in the first place. This can only be
answered through the concept of original sin. To be born is
to be a sinner, and thus man is condemned to suffer. The
only way to escape the suffering is to repent or to die. Thus
Vladimir recalls the thieves crucified with Christ in the first
act:
V: One of the thieves was saved. It's a reasonable percentage. (Pause.) Gogo.

E: What?

V: Suppose we repented.

E: Repented what?

V: Oh . . . (He reflects.) We wouldn't have to go into the details.

E: Our being born?
Failing to repent, they sit and
wait for Godot to come and save
them. In the meantime they
contemplate suicide as another
way of escaping their
hopelessness. Estragon wants
them to hang themselves from
the tree, but both he and
Vladimir find it would be too
risky. This apathy, which is a
result of their age, leads them to
remember a time when
Estragon almost succeeded in
killing himself:
 E: Do you remember the day I threw myself into the Rhone?

V: We were grape harvesting.

E: You fished me out.

V: That's all dead and buried.

E: My clothes dried in the sun.

V: There's no good harking back on that. Come on.

Beckett is believed to have said that the name Godot comes from the
French "godillot" meaning a military boot. Beckett fought in the war
and so spending long periods of time waiting for messages to arrive
would have been commonplace for him. The more common
interpretation that it might mean "God" is almost certainly wrong.
Beckett apparently stated that if he had meant "God," he would have
written "God".

And for the last

time ....

Godot is NOT God!

The concept of the passage of time leads to a general irony.
Each minute spent waiting brings death one step closer to the
characters and makes the arrival of Godot less likely. The
passage of time is evidenced by the tree which has grown
leaves, possibly indicating a change of seasons. Pozzo and
Lucky are also transformed by time since Pozzo goes blind and
Lucky mute.
There are numerous interpretation of
Waiting for Godot and a few are:
 Religious Political
Interpretation Interpretation
Religious interpretations posit Vladimir and
Estragon as humanity waiting for the elusive
return of a savior. An extension of this
makes Pozzo into the Pope and Lucky into
the faithful. The faithful are then viewed as
a cipher of God cut short by human
intolerance. The twisted tree can
alternatively represent either the tree of
death, the tree of life, the tree of Judas or
the tree of knowledge.
Political interpretations also abound. Some reviewers hold that the
relationship between Pozzo and Lucky is that of a capitalist to his
labor. This Marxist interpretation is understandable given that in the
second act Pozzo is blind to what is happening around him and Lucky
is mute to protest his treatment.
An interesting interpretation argues that Lucky receives his name
because he is lucky in the context of the play. Since most of the
play is spent trying to find things to do to pass the time, Lucky is
lucky because his actions are determined absolutely by Pozzo.
Pozzo on the other hand is
unlucky because he not only
needs to pass his own time but
must find things for Lucky to do.
Even though the drama is divided
into two acts, there are other
natural divisions. For the sake of
 discussion, the following, rather obvious, scene divisions will be
referred to:
ACT I: ACT II:

(1)Vladimir and Estragon Alone (1)Vladimir and Estragon Alone

(2) Arrival of Pozzo and Lucky: (2) Arrival of Pozzo and Lucky

(3) Departure of Pozzo and Lucky: (3) Departure of Pozzo and Lucky:
Vladimir and Estragon Alone Vladimir and Estragon Alone

(4) Arrival of Boy Messenger (4) Arrival of Boy Messenger

(5) Departure of Boy Messenger: (5) Departure of Boy Messenger:

Vladimir and Estragon Alone Vladimir and Estragon Alone

The above divisions of the play are Beckett’s way of making a statement
about the nature of the play—that is, the play is circular in structure, and
a third act (or even a fourth or fifth act, etc.) could be added, having the
exact same structure.
 But what does
it all mean?

Let me clarify your

doubts, my little
student.

A traditional play, in contrast, has an introduction of the characters and

the exposition; then, there is a statement of the problem of the play in
relationship to its settings and characters. (In Waiting for Godot, we never
know where the play takes place, except that it is set on “a country road.”)
Furthermore, in a traditional play, the characters are developed, and
gradually we come to see the dramatist’s world view; the play then rises
to a climax, and there is a conclusion. This type of development is called a
linear development. In the plays of the Theater of the Absurd, the
structure is often exactly the opposite. We have, instead, a circular
 Hold on, Bruno! I’m trying to copy all
the texts from the presentation!

By the way, how about the setting? It seems

so poor or simple. What can you say about it?
structure, and most aspects of this drama support this circular structure
in one way or another.
The setting is the same, and the time is the same in both acts. Each act begins
early in the morning, just as the tramps are awakening, and both acts close
with the moon having risen. The action takes place in exactly the same
landscape—a lonely, isolated road with one single tree. (In the second act,
there are some leaves on the tree, but from the viewpoint of the audience,
the setting is exactly the same.) We are never told where this road is located;
all we know is that the action of the play unfolds on this lonely road. Thus,
from Act I to Act II, there is no difference in either the setting or in the time
and, thus, instead of a progression of time within an identifiable setting, we
have a repetition in the second act of the same things that we saw and heard
in the first act.