Absurdist Theatre Waiting for Godot

Absurdist Theatre asks its viewer to 'draw his own conclusions, make his own errors' (Esslin, 1961, p.

20). I would argue that the intention of Waiting for Godot is to force the reader to draw their own conclusions without providing a climax and conclusion similar to what we would expect from traditional theatre. Theatre of the Absurd serves to convey an author's interpretation of the human situation. It does not show man in a specific historical or social context, it is not meant to communicate general views of our existence.An absurd character is remote in the world created. Absurd Theatre discards what we view as a traditional plot and characters to assail its reader with an unnerving encounter.

Characters engage in apparently pointless dialogue thus the reader is given an impression of what it would be like to live in a world that is not coherent and does not "make sense". This is demonstrated by two men waiting around, repeating events, clowning and joking as they pass the time waiting through one day and then another.Although Waiting for Godot could be depicted as experientialist in its characterisations, the play is first and foremost about anticipation and hope. The play revolves around the characters and their pitiful wait for hope, e. g. Godot, to arrive.

I would argue that Waiting for Godot is a play in which nothing happens yet manages to captivate the reader. There is no conceivable plot in the sense of traditional theatre. What is even more interesting is that the second act is a repeat or reprise of the first act so it is a play in which nothing happens twice over.Waiting and doing "nothing", turn nothing into something by passing the time, in a premise which offers no hope.

Estragon demonstrates this, "Nothing to be done" with Vladimir replying, " I'm beginning to come round to that opinion". Although initially this refers to Estragon's boots, it also is used later in respect to Vladimir's hat. Essentially it describes the nothingness of their lives. The characters experience a struggle to pass the time; most of the play is dedicated to devising games to do so.In reality, Vladimir and Estragon stay together as they need each other to pass the time, to continue waiting. In the eyes of Absurd Theatre, the absence of women characters could provoke the impression that Vladimir and Estragon's relationship is quasi-marital, as they bicker and argue in the same way a traditional married couple might.

'Who am I to tell my private nightmares to if I can't tell them to you? ' asks one character to another. Estragon remarks 'That's where we'll go, I used to say, that's where we'll go for our honeymoon. We'll swim. We'll be happy' when talking about the Dead Sea.There is a notable absence of either characters wife, or even mention of one.

This leads us to assume that said honeymoon would be between Estragon and Vladimir. However this is never expanded on, Beckett does not divulge any other information. It is as if he enjoys playing with the readers' minds, provoking them into considering something that might be either true or false therefore it is ambiguous. It is important to note however, their habit of finishing each other's sentences, This has homoerotic subtextual implications in the sense that they appear to be soul mates.It is never admitted in the text as to whether they are in a homosexual relationship, but the reader is left speculating.

The literal text of Waiting for Godot invites you to attempt to make meaning, however at the same time appears to resist meaning. In Lucky's speech, words are repeated and names are paired. Using the contextual knowledge of works such as Shakespeare, the reader will latch onto this repetition, as traditionally repetition of a phrase or words would be used to convey a meaning."In spite of the tennis" (Beckett, 2006, p.

7) could lead you to infer that it means "back and forth". But does it actually have a literal meaning, or is it Beckett making a commentary on the absurdity of theatre and life? One interpretation of the play could be that is that character of Lucky is named so, due to the fact that contextually in terms of the play, he is in fact a lucky character. When you take into account that most of the play is spent trying to pass the time, Lucky is lucky because ultimately as a slave, his actions are determined by the decisions of Pozzo whom he obeys with 'dog-like devotion' (Mercier, 1990, p. 53).

Thus, Pozzo himself is unlucky as not only does he need to amuse himself, he also must find activities for Lucky to carry out. Lucky's speech is the most dramatic part of Waiting for Godot. Based on appearances it could be viewed as verbal garbage however I believe Beckett uses it as a vehicle to express his views on the disorientation of post-World War II Britain. In the scenes before Lucky's speech, we are given the impression that he is a "village idiot" as he barely speaks. Then upon launching into his speech, instantly we are overwhelmed by what appears to be total disbanding of verbal skill.

When examining the text closely, we see repetition of nonsensical sounds such as "quaquaquaqua" which stick in the mind of the reader. We as readers or listeners will try to make sense from this seemingly random choice of sounds. When exploring the form of the speech it is evident that his speech is not literally amorphousness but dissolution of form, a mixture of words designed to bring forth a reaction from the reader. Beckett wants us to attempt to find specific meaning in those words and sounds. Yet perhaps there is no literal meaning as is commonplace with Absurd Theatre, the fact that we try is enough.Beckett wants to provoke us to try to connect with the text, but in the end he will not provide a conclusion.

Lucky utters " Given the existence" yet he appears to leave the statement unfinished. This triggers the reader to question what does in fact exist, which is infuriating, as we never receive a response. Throughout Lucky's speech words are repeated, names are paired for example 'Puncher and Wattman'. It is my opinion that Beckett wrote Lucky's speech primarily concerned with the sound of the spoken text.

The language is unsympathetic and the use of hard consonants in 'Cunard' and 'Wattman' bolsters the feeling of hopelessness. Does the inclusion of 'Peckham Fulham and Clapham' make these places significant or is it simply an attempt to draw our interest due to the rhyme. I believe it is significant in the fact it invites us to make sense of it but does not provide a definite supposition. I do not believe the places themselves are important, even though we as readers will try our best to convince ourselves that they are.

However there are many instances in the speech that do contradict this idea.Lucky resumes 'the skull to shrink and waste' could this be a commentary on the frailty of mankind in a turbulent Twentieth Century perhaps? Lucky's final word is 'unfinished' referring both to the unfinished extended stream of consciousness as well as conceivably the contracting frailty of mankind. Waiting for Godot forces the reader to make his or her own deductions, as the situation of the play remains inert. In traditional theatre, Point A ends up in Point B, we ask ourselves what will happen next and what will the conclusion be.In Waiting for Godot we are forced to ask ourselves what it is that we want from the text. Waiting for Godot embodies theatre in its absurdist form, the plot is that of a cyclic nature with Act II a reprise of Act II albeit subtly different.

By the end of the play, Vladimir and Estragon have spent the duration of the play waiting. The last line from Estragon 'Yes, let's go' is followed by the stage direction 'They do not move' which simply serves to demonstrate their total incapability to take control of their life, as by the end they have achieved nothing.