Samuel Beckett’s En Attendant Godot (1952) /

Waiting for Godot (1954)

1. Samuel Beckett’s plays are often seen as belonging to a movement labelled

‘the theatre of the absurd’. What do you know about this movement? Which
aspects characterize it?
The Theatre of the Absurd is a term coined by the critic Martin Esslin in his 1961
book of the same name. It refers to a post-World War II theatrical movement that
emerged in Europe, particularly in France, during the 1950s and 1960s. Samuel
Beckett, along with playwrights such as Eugène Ionesco, Jean Genet, and Harold
Pinter, is considered one of the prominent figures associated with this movement.
The Theatre of Absurd is characterized by a departure from traditional dramatic
conventions and a focus on exploring the human condition in a meaningless and
chaotic universe. The movement reflects the existentialist philosophy of the time,
which questioned the purpose and meaning of life in an absurd and irrational
world.
Key aspects that characterize the Theatre of the Absurd:
• Absurdity and Nonsense: The plays often feature illogical and
nonsensical situations, dialogue, and actions that defy traditional
storytelling and rationality. The characters find themselves in absurd and
repetitive situations, highlighting the meaninglessness of their existence.
• Existential Themes: The plays explore existential themes such as the
search for meaning, the futility of human existence, alienation, and the
inability to communicate effectively.
• Nonlinear and Fragmented Structure: The play frequently employs
fragmented narratives and non-linear structures. The conventional cause-
and-effect plotlines are abandoned in favour of disjointed scenes and
disconnected events.
• Minimalist Settings: The stage settings are often minimalistic, leaving in
the setting just the essential elements full of meaning. This aims to
emphasize the essential themes and ideas of the play.
• Black Humour and Wit: Dark humour and irony are common elements
in Theatre of the Absurd plays. Through humour and wit, the playwrights
satirize social norms, human behaviour and the absurdity of existence.
• Silence and Repetition: Silence and repetitive actions are used to convey
meaning and evoke a sense of monotony, frustration and existential
anguish.
• Loss of Language: Language is often insufficient or inadequate to express
characters’ thoughts and feelings.
The Theatre of the Absurd seeks to challenge and provoke its audience, encouraging
them to question the nature of existence and the assumptions of traditional theatre.
2. Pay attention to the plot (what happens?) and to characters (full or round vs.
flat).
Waiting for Godot is a play written by Samuel Beckett, first performed in 1953.
The plot revolves around two main characters, Vladimir (also known as Didi) and
Estragon (also known as Gogo), who are waiting by a barren tree on a desolate
road for the arrival of a character named Godot. However, Godot never arrives,
and the characters’ waiting becomes the central focus of the play.
The play is known for its circular and repetitive structure, with Vladimir and
Estragon engaging in humorous and philosophical conversations while they wait.
They pass the time by discussing various topics, engaging in wordplay, and
engaging in physical comedy.
Throughout the play, the characters encounter other individuals who enter and exit
the stage. These include Pozzo, a wealthy landowner, and his slave, Lucky. Pozzo
and Lucky’s arrival provides moments of interaction and absurdity. Pozzo
mistreats Lucky and treats him as a mere servant, while Lucky performs
intellectual and nonsensical monologues when prompted by Pozzo.
Despite their frustrations and occasional thoughts of abandoning their wait,
Vladimir and Estragon continue to hope for Godot’s arrival, believing that he will
provide answers or salvation.
In terms of character types, Vladimir and Estragon can be considered complex
and round characters. They have distinct personalities, thoughts and desires.
Vladimir is more thoughtful and intellectual while Estragon is more focused on
immediate needs and physical discomfort.
Other characters, such a s Pozzo and Lucky, are relatively flat characters who
serve specific functions in the play. Pozzo represents authority, power and
oppression while Lucky symbolizes the oppressed serving as an example of
philosophical absurdity.
3. What kind of relationship is established between Vladimir and Estragon?
And between Pozzo and Lucky? Does their relationship change at any point?
In Samuel Beckett’s “Waiting for Godot”, the relationship between the two main
characters, Vladimir (Didi) and Estragon (Gogo) is characterized by
interdependence, companionship, and a shared sense of existential despair. They
rely on each other for companionship and support while they wait for the arrival
of Godot.
Vladimir and Estragon often engage in banter, wordplay and humorous exchanges
to pass the time and distract themselves from their bleak situation. They rely on
each other for conversation and mutual support, providing comfort and
companionship in their shared state of waiting.
However, there are also instance of conflict and irritation between Vladimir and
Estragon. They often question each other’s action or decisions. These moments
bring tension, and frustrations arise from their endless witing.
Regarding the relationship between Pozzo and Lucky, they have a starkly
contrasting dynamic compared to Vladimir and Estragon. Pozzo is a domineering
and oppressive character, while Lucky is his subservient and mistreated slave.
Lucky, despite being mistreated, remain obedient and subservient to Pozzo’s
commands. He carries Pozzo’s belongings, follows his instructions, and performs
intellectual and nonsensical monologues when prompted.
As for changes in their relationships, while Vladimir and Estragon’s dynamic
remains consistent throughout the play, the relationship between Pozzo and Lucky
undergoes a significant change in Ac II. When Pozzo reappears in Act II, he is
blind and helpless, no longer in control. Lucky, who was previously subservient,
now takes charge and leads Pozo, showing the reversal of their roles.
4. Analyze setting and time in the play.
The setting and time play crucial roles in establishing the atmosphere, themes, and
overall meaning of the work.
SETTING: The entire play takes place in a desolate and barren landscape with
only a single, leafless tree and a small mound. This minimalistic setting
contributes to the sense of emptiness, isolation and existential despair that appears
in the play. The lack of specific details about the location or period creates a
universal and timeless quality.
The setting of the desolate landscape serves as a metaphorical representation of
the character’s inner state. It reflects their sense of alienation and the void that
they find themselves in. The tree, becomes a central visual symbol, representing
the passage of time, the nature of existence and the hope of salvation or meaning.
TIME: Time in “Waiting for Godot” is circular, ambiguous and marked by
repetitive patterns. The play consists of 2 acts, both depicting the characters
waiting for the arrival of Godot. However, the arrival of Godot never happens,
and the characters remain trapped in a perpetual state of waiting.
The circular nature of time is reinforced through repetitive elements in the play.
The characters engage in similar conversations, actions and encounters,
emphasizing the monotony and sameness of their lives.
The ambiguity surrounding time also adds to the sense of uncertainty and
confusion. The characters are unsure how much time has passed, and they struggle
to remember events or establish a linear sense of chronology.
5. What kind of language do we find in this play? Is it conversational, poetic,
philosophical, other…? Does what the characters say make sense? Find a
quotation that supports your argument.
In Samuel Beckett’s “Waiting for Godot”, the language used by the characters can
be described as a blend of conversational, poetic, philosophical and nonsensical
elements. The dialogue often incorporates everyday speech patterns,
colloquialism and humour while also deviation into philosophical and existential
conversations.
While the characters’ conversations may see nonsensical or fragmented at times,
they are integral to the overall meaning and atmosphere of the play. The play’s
language mirrors the existential confusion, the limitation s of communication and
the inability to find coherent answer in an absurd world.
Quotation to exemplify:
“VLADIMIR: We wait. We are bored. (He throws up his hand) No, don’t protest,
we are bored to death, there’s no denying it. Good. A diversion comes along and
what do we do? We let it go to waste. Come, let’s get to work! (They do not move)
In an instant, all will vanish, and we’ll be alone once more, in the midst of
nothingness!”
In this passage, Vladimir’s words capture a conversational tone while conveying
profound existential themes. The repetition of “We wait”, “We are bored” and
“We let it go to waste” reflects the monotony of their lives. The phrase “amid
nothingness” encapsulates the philosophical undertones and the characters’
contemplation of their existence.
6. Pay close attention to characters’ communication with each other and try to
describe it.
The characters’ communication with each other is marked by a sense of
frustration, miscommunication, and a struggle to connect. Their conversations
often display a mix of absurdity, wit, wordplay, and philosophy musings,
reflecting the breakdown of effective communication in absurd world.
• Repetition: The characters frequently repeat phrases, questions and
exchanges highlighting the cyclic nature of their interactions. This
repetition emphasizes the characters’ inability to move forward.
• Nonsensical Dialogues: The dialogues in the play often features
disconnected thoughts and nonsensical exchanges. These nonsensical
dialogues reflect the breakdown of logical communication.
• Lack of Direct Answer: The characters frequently evade direct answers
or provide ambiguous responses when questioned. This further contributes
to the sense of frustration and uncertainty in their communication.
• Miscommunication and Misunderstanding: The characters often
misunderstand each other’s intentions, leading to moments of confusion
and frustration. They may use different interpretations, leading to comedic
or frustrating situations.
• Interrupted and Fragmented Speech: The characters’ speech is often
interrupted, fragmented, or filled with pauses, indicating the breakdown
of fluent and coherent communication.
• Humour and Wit: Despite the challenges and limitations of their
communication, the characters enjoy humour, wit, and wordplay to cope
with their predicament.
The communication between the characters in “Waiting for Godot” is
characterized by a sense of frustration, miscommunication and struggle to find
meaning or connection.
7. In the English translation, this play’s subtitle is “a tragicomedy in two acts”.
Is this a tragedy? Is this a comedy? Which tragic, comedic or tragicomedic
elements does it contain?
Waiting for Godot is often described as a tragicomedy, blending elements of
tragedy and comedy. While it does not adhere to a traditional structure or
narrative, the play contains both tragic elements.
TRAGIC ELEMENTS:
• Existential Despair: The play explores existential themes of human
suffering emptiness and the futility of existence.
• Hopelessness: The characters’ perpetual waiting for Godot, who never
arrives, reflects a sense of hopelessness and a lack of fulfilment.
• Themes of Loss and Loneliness: The characters’ loneliness and isolation
add to the tragic atmosphere.
COMEDIC ELEMENTS:
• Absurdity and Nonsensical Dialogue: The play incorporates absurd
elements that elicit humour. All these comedic elements, provide
moments of comic relief in the play.
• Physical Comedy: “Waiting for Godot” features physical comedy,
including slapstick and comical gestures. These physical elements
contribute to the overall comedic tone of the play.
• Humorous interactions: The characters’ interactions, their witty humour
and their comedic timing creates moments of humour despite their
circumstances.
The tragic and comedy elements in “Waiting for Godot” work together to
create a unique and thought-provoking experience for the audience. The play
challenges traditional genre categorizations, emphasizing the complex and
contradictory nature of human existence.
8. In which ways does Beckett break with our common and traditional
assumptions about how plots and characters in plays work?
Samuel Beckett breaks with common and traditional assumptions about plots and
characters in plays in several ways, including “Waiting for Godot” and other
plays. Here are some keyways in which Beckett challenges conventional norms:
• Lack of Traditional Plot Progression: Beckett’s plays often lack a linear,
cause-and-effect plot structure. Instead of following a traditional narrative
arc, his works emphasize a circularity, repetition, and a lack of forward
progress causing a feeling of shock and confusion in the viewer.
• Minimalistic Settings: Beckett’s plays often features minimalistic
settings, consisting of sparse and ambiguous landscape or confined spaces.
These minimalistic settings use a few numbers of props that conveys a lot
of information.
• Ambiguous and Enigmatic Characters: Beckett’s characters often lack
well-defined backgrounds, motives, or character development. These
characters represents human condition rather than individual problems.
• Exploration of Silence and Nonverbal Communication: Beckett
employs silence and nonverbal communication as significant elements in
his plays. Moments of silence conveys information showing the
characters’ struggle and existential isolation. Nonverbal expressions and
gestures convey emotions that transcend conventional dialogue.
• Subversion of Expectations: Beckett purposefully subverts audience
expectations, challenging conventional theatrical norms. He rejects
traditional notions of dramatic tension, resolution and catharsis, opting for
ambiguity and unresolved narrative. This creates an unsettling and
provoking experience.
• Blending of Tragedy and Comedy: Beckett combines tragic and comedic
elements, blurring the boundaries between the two. This blending
challenges the notion of strict genre categorization and offers a
representation of complexities of life.
9. Critics have pointed to the influence, on Beckett’s theatre, of the vaudeville,
the music hall, silent film and slapstick comedy. Where do we see these
influences in the play?
In Samuel Beckett’s “Waiting for Godot”, the influences of vaudeville, music hall,
silent film and slapstick comedy are evident in various aspects of play. Here are
some specific instances where these influences can be observed:
• Vaudeville and Music Hall:
➢ Repetition and Routines: The repetitive nature of the characters’
interactions, their routines and their reliance on specific phrases
and actions reflects the vaudevillian tradition.
➢ Physical Comedy: The play incorporates physical comedy
reminiscent of vaudeville and music hall acts. This can be seen in
moments such as Vladimir and Estragon’s physical antics, their
clumsy movements and exaggerated gestures.
• Silent Film:
➢ Visual and Physical Comedy: Beckett’s use of visual and physical
comedy draws inspiration from silent films. The characters’
exaggerated expressions, visual gags and physical humour like
Vladimir and Estragon’s comedic interactions.
• Slapstick Comedy:
➢ Falls, Trips, and Mishaps: “Waiting for Godot” incorporates
slapstick elements, including characters experiencing falls, trips
and other physical mishaps. For example, Estragon is repeatedly
falling while trying to remove his boots.
➢ Physical Violence: The play also features moments of physical
violence that have a slapstick quality. For instance, in Act II, Pozzo
and Lucky engage in a physically aggressive encounter.
These influences from vaudeville, music hall, silent film, and slapstick comedy
contribute to the play’s comedic tone and the blend of humour and absurdity.
10. Try to detect any religious references and allusions. It is justified to make a
religious interpretation of the play?
In Samuel Beckett’s “Waiting for Godot”, there are several religious references
and allusions that can be interpreted in various ways. While Beckett himself
definitive interpretations, it is indeed justified to make a religious interpretation
of the play, as it contains elements that evoke religious themes and symbolism.
Here are some religious references and allusions in the play:
• Godot as God: The character of Godot is often interpreted as a
representation of God or a divine figure. The characters Vladimir and
Estragon wait for Godot’s arrival, hoping for salvation or meaning.
Godot’s absence represents hope and faith in a higher power.
• Biblical Allusions: The play contains several allusions to biblical stories
and figures. For example, the characters of Vladimir and Estragon can be
seen as parallel to biblical figures like Adam and Eve or the two thieves
crucified alongside Jesus.
• Themes of Redemption and Salvation: The play explores themes of
redemption and salvation, which are central to religious narratives. The
characters, trapped in their existential predicament, seek meaning, purpose
and a potential scape from their suffering.
• Religious Rituals: The characters engage in religious-like rituals
throughout the play. For instance, they repeatedly engage in acts of
waiting, praying, and hoping for a higher power to deliver them from their
despair.
In all this religious interpretation, it is important to mention that Beckett’s
work is open to multiple interpretations. These biblical references can be seen
as symbolic, metaphorical or allegorical.
11. Is identity important in the play? And hope and faith? And chance? Justify.
In Samuel Beckett’s “Waiting for Godot”, identity, hope, and chance play
significant roles, each contributing to the overall themes and exploration of the
human condition. Here’s a justification for the importance of each element:
• Identity: Identity is a crucial theme in “Waiting for Godot”. The
characters, Vladimir and Estragon, struggle with questions of self-identity
and the search for a sense of purpose or definition. The uncertainty
surrounding their identities reflects the existential angst and the struggle
to establish a coherent sense of self in an absurd reality.
• Hope and Faith: Hope and faith are visible throughout the play. Vladimir
and Estragon’s relentless waiting for Godor represents their hope for
salvation, meaning or resolution. They believe that Godot’s arrival will
bring answers, fulfilment or a sense of purpose to their lives.
• Chance: The element of chance is prominent in “Waiting for Godot”. The
characters’ lives are subject to unpredictable events, which disrupt their
routines and expectations. Chance occurrences like encounters with
strangers or unexpected events, influence the characters’ actions and shape
their experience. Chance highlights the arbitrary nature of existence and
the lack of control the characters have over their lives.
12. Beckett stated: “The more Joyce knew the more he could. He’s tending
towards omniscience and omnipotence as an artist. I’m working with
impotence, ignorance”. Do you think these words shed any light on Waiting
for Godot?
Yes, Beckett’s statement sheds light on “Waiting for Godot” and his artistic
approach in general. In the play, Beckett deliberately embraces themes of
impotence and ignorance, exploring the limitations of human knowledge, agency
and understanding. Here’s how his statement relates to the themes and style of
“Waiting for Godot”:
• Impotence: Beckett’s focus on impotence aligns with the characters’
helplessness and their inability to effect significant change in their lives.
Vladimir and Estragon are trapped in cyclical existence, unable to break
free from their routine of waiting. They are impotent in their attempts to
control their circumstances and find meaning.
• Ignorance: Beckett’s emphasis on ignorance connects to the characters
‘lack of knowledge and understanding about their situation, their purpose
and the nature of Godot. Vladimir and Estragon straggle existential
questions without finding definitive answers, so they remain ignorant for
their waiting.
By embracing impotence and ignorance in his work, Beckett challenges traditional
notions of authorial control and omniscience. He rejects the idea of the artist as
an all-knowing authority and instead explores the human condition from a positon
of vulnerability and humility.
13. “I’m not interested in any system. I can’t see any trace of any system
anywhere”. These are Beckett’s own words. Can they help us to understand
Waiting for Godot?
Yes, in this statement he provides insight into his artistic approach and can help
us understand “Waiting for Godot” and his work in general. Here’s how his words
relate to the understanding of the play:
• Rejection of Systematic Interpretation: Beckett’s statement reflects his
resistance to imposing systematic interpretations or rigid frameworks onto
his work. He emphasizes his disinterest in adhering to any specific system
or preconceived structure in writing. Beckett encourages a more fluid
engagement to his work, where each reader or viewer is free to interpret,
for example, “Waiting for Godot”.
• Emphasis on Ambiguity and Complexity: Beckett’s statement
highlights his inclination towards embracing ambiguity and complexity in
his writing. “Waiting for Godot” is known for its enigmatic nature, with
multiple layers of meaning and interpretations possible. Beckett’s
rejection of a system reflects his intent to create a work that defined simple
explanation.
• Freedom of Interpretation: By dismissing the idea of any trace of
system, Beckett allows for a wide range of interpretations and perspectives
on “Waiting for Godot”. He encourages readers and viewers to approach
the play with an open mind, free from the constraints of predetermined
systems or rigid analytical frameworks.
14. Choose one or two sentences that, in your opinion, capture the ‘spirit’ of this
play, that have shocked or surprised you, or simply that you like!
One sentence that captures the spirit of Samuel Beckett’s “Waiting for Godot” is:
“Nothing to be done”. This simple phrase encapsulates the sense of futility,
existential questioning and the characters’ resigned acceptance of their situation,
which permeates the play.
Another sentence to highlights the essence of the play: “We are all born mad.
Some remain so”. This statement resonates with the theme of the human condition,
suggesting that the absurdity and madness of existence are inherent and persistent,
challenging conventional notions of sanity and rationality.