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SamuelBeckettWaitingforGodot SamuelBeckett 1906 1989 SamuelBeckettwasanIrishwriter dramatistandpoet writinginEnglishandFrench HewasbornnearDublin Ireland onApril13 1906intoaProtestant middleclasshome Hisfatherwasaquantitysurveyorandhismotherworkedasanurse HeattendedthePortoraRoyalboardingschoolinNorthernIreland thenenteredTrinityCollege tostudyFrenchandItalianfrom1923to1927 In1929 Beckettpublishedhisfirstwork acriticalessay TheessaydefendsJoyce sworkandmethod chieflyfromallegationsofwantonobscurityanddimness Beckett sworkoffersableakoutlookonhumancultureandhebecameincreasinglyaminimalistinhislatercareer Asastudent assistant andfriendofJamesJoyce Beckettisconsideredoneofthelastmodernists asaninspirationtomanylaterwriters heissometimesconsideredoneofthefirstpostmodernists HeisalsoconsideredoneofthekeywritersinwhatMartinEsslincalled TheatreoftheAbsurd Assuch heiswidelyregardedasoneofthemostinfluentialwritersofthe20thcentury BeckettwasawardedtheNobelPrizeinLiteraturein1969forhis writing which innewformsforthenovelanddrama inthedestitutionofmodernmanacquiresitselevation SamuelBeckett sgraveMontparnasseCemetery SamuelBeckettdepictedonanIrishcommemorativecoincelebratingthe100thAnniversaryofhisbirth On10December2009 thenewestbridgeacrosstheRiverLiffeyinDublinwasopenedandnamedtheSamuelBeckettBridgeinhishonour Works Beckett smostfamouscontributionstomoderntheaterincludeWaitingforGodot 1952 Endgame 1957 andHappyDays 1961 Thesedarkcomediesrevolvearoundindividualswhoaretrappedinpredictableyetdisturbingsituations Solitude paralysis andabsurdityweresomeofBeckett sgreatestobsessions andhisnovelsinFrenchaddressthesethemeswithacombinationofgrotesquehumorandhauntinglylyricalprose Writingcareer hisearlyworks upuntiltheendofWorldWarIIin1945 hismiddleperiod stretchingfrom1945untiltheearly1960s duringwhichhewrotewhatareprobablyhisbest knownworks hislateperiod fromtheearly1960suntilBeckett sdeathin1989 duringwhichhisworkstendedtobecomeshorter TheatreEleutheria 1940s published1995 WaitingforGodot 1952 ActWithoutWordsI 1956 ActWithoutWordsII 1956 Endgame 1957 Krapp sLastTape 1958 RoughforTheatreI late1950s RoughforTheatreII late1950s HappyDays 1960 Play 1963 ComeandGo 1965 Breath 1969 NotI 1972 ThatTime 1975 Footfalls 1975 APieceofMonologue 1980 Rockaby 1981 OhioImpromptu 1981 Catastrophe 1982 WhatWhere 1983 RadioAllThatFall 1956 FromanAbandonedWork 1957 Embers 1959 RoughforRadioI 1961 RoughforRadioII 1961 WordsandMusic 1961 Cascando 1962 TelevisionEhJoe 1965 GhostTrio 1975 buttheclouds 1976 QuadI II 1981 NachtundTr ume 1982 BeckettonFilm 2002 HostedbyJeremyIrons ProducedbyPBSCinemaFilm 1965 Dramaticworks ProseNovelsDreamofFairtoMiddlingWomen 1932 published1992 Murphy 1938 Watt 1945 published1953 MercierandCamier 1946 published1974 Molloy 1951 MaloneDies 1951 TheUnnamable 1953 HowItIs 1961 NovellasTheExpelled 1946 TheCalmative 1946 TheEnd 1946 TheLostOnes 1971 Company 1980 IllSeenIllSaid 1981 WorstwardHo 1983 StoriesMorePricksThanKicks 1934 FirstLove 1945 StoriesandTextsforNothing 1954 Fizzles 1976 StirringsStill 1988 Non fictionProust 1931 ThreeDialogues withGeorgesDuthuitandJacquesPutnam 1949 Disjecta 1929 1967 PoetryWhoroscope 1930 Echo sBonesandotherPrecipitates 1935 CollectedPoemsinEnglish 1961 CollectedPoemsinEnglishandFrench 1977 WhatistheWord 1989 WaitingforGodotatragicomedyintwoacts 1stEnglisheditiontranslatedbytheauthor 1952writteninFrench andpublished 1953premieredattheBabylonetheaterinParis Theplay sreputationspreadslowlythroughwordofmouthanditsoonbecamequitefamous Otherproductionsaroundtheworldrapidlyfollowed TheplayinitiallyfailedintheUnitedStates likelyasaresultofbeingmisbilledas thelaughoffourcontinents AsubsequentproductioninNewYorkCitywasmorecarefullyadvertisedandgainedsomesuccess 1954theEnglishtranslationappeared Theplayhasoftenbeenviewedasfundamentallyexistentialistinitstakeonlife Thefactthatnoneofthecharactersretainaclearmentalhistorymeansthattheyareconstantlystrugglingtoprovetheirexistence WaitingforGodotispartoftheTheateroftheAbsurd Thisimpliesthatitismeanttobeirrational Absurdtheaterdoesawaywiththeconceptsofdrama chronologicalplot logicallanguage themes andrecognizablesettings Thereisalsoasplitbetweentheintellectandthebodywithinthework ThusVladimirrepresentstheintellectandEstragonthebody bothofwhomcannotexistwithouttheother Characterlist Estragon Gogo Estragonisoneofthetwoprotagonists Heisabumandsleepsinaditchwhereheisbeateneachnight Hehasnomemorybeyondwhatisimmediatelysaidtohim andreliesonVladimirtorememberforhim EstragonisimpatientandconstantlywantstoleaveVladimir butisrestrainedfromleavingbythefactthatheneedsVladimir ItisEstragon sideaforthebumstopasstheirtimebyhangingthemselves Estragonhasbeencomparedtoabodywithoutanintellect whichthereforeneedsVladimirtoprovidetheintellect Vladimir Didi Vladimirisoneofthetwoprotagonists HeisabumlikeEstragon butretainsamemoryofmostevents However heisoftenunsurewhetherhismemoryisplayingtricksonhim VladimirisfriendswithEstragonbecauseEstragonprovideshimwiththechancetorememberpastevents VladimiristheonewhomakesEstragonwaitwithhimforMr Godot simminentarrivalthroughouttheplay Vladimirhasbeencomparedtotheintellectwhichprovidesforthebody representedbyEstragon DidiandGogoareapairwhichcomplementeachother Apairwhoneedeachother yetstifleeachother sgrowth Theyaremiserablemuchofthetimetogether yetneitherseemsbigenoughtopartfromtheother Theyarepossiblypartsofadividedself Gogoastheunconsciousmind Didiastheconsciousmind Theycannotseparateonceandforall PozzoPozzoisthemasterwhorulesoverLucky Hestopsandtalkstothetwobumsinordertohavesomecompany InthesecondactPozzoisblindandrequirestheirhelp He likeEstragon cannotrememberpeoplehehasmet Histransformationbetweentheactsmayrepresentthepassageoftime LuckyLuckyistheslaveofPozzo thesymbolofman as a machine HeistiedtoPozzoviaaropearoundhisneckandhecarriesPozzo sbags Luckyisonlyallowedtospeaktwiceduringtheentireplay buthislongmonologueisfilledwithincompleteideas Heissilencedonlybytheothercharacterswhofightwithhimtotakeofhishat Luckyappearsasamuteinthesecondact PozzoandLuckyareapairwhichcomplementeachother Pozzosymbolizesthesadist Luckythemasochist Perhapsallslavesmustbecomemasochisticorelsedieinrebellion Materialisticmanrejectsandsuppresseshisspiritualandculturalside PozzoneedsLucky andevenso heisdyingandwithering BoyTheboyisaservantofMr Godot HeplaysanidenticalroleinbothactsbycomingtoinformVladimirandEstragontheMr Godotwillnotbeabletomakeitthatnight butwillsurelycomethenextday TheboyneverremembershavingmetVladimirandEstragonbefore Hehasabrotherwhoismentionedbutwhoneverappears TheCircularStructure Inatraditionalplay theplotsusuallygooninalineardevelopment anintroductionofthecharactersandtheexposition astatementoftheproblemoftheplayAndtherelationshiptoitssettingsandcharacters thedramatist sworldview Climax conclusion IntheplaysoftheTheateroftheAbsurd thestructureisoftenexactlytheopposite InWaitingforGodot thesettingisthesame andthetimeisthesameinbothacts Eachactbeginsearlyinthemorning justasthetrampsareawakening andbothactsclosewiththemoonhavingrisen Theactiontakesplaceinexactlythesamelandscape alonely isolatedroadwithonesingletree Wearenevertoldwherethisroadislocated allweknowisthattheactionoftheplayunfoldsonthislonelyroad Thus fromActItoActII thereisnodifferenceineitherthesettingorinthetimeand thus insteadofaprogressionoftimewithinanidentifiablesetting wehavearepetitioninthesecondactofthesamethingsthatwesawandheardinthefirstact Moreimportantthantherepetitionofsettingandtime however istherepetitionoftheactions VladimirandEstragonAloneArrivalofPozzoandLuckyVladimirandEstragonAloneArrivalofBoyMessengerVladimirandEstragonAlone Atthebeginningofbothacts thefirstdiscussionconcernsabeatingthatEstragonreceivedjustpriortotheirmeeting Atthebeginningofbothacts EstragonkeepsaskingVladimiriftheycanleave onlytoreceivetheresponsethattheyarewaitingforGodot Intheendingsofbothacts VladimirandEstragondiscussthepossibilityofhangingthemselves andinbothendingstheydecidetobringsomegoodstrongropewiththemthenextdaysothattheycanindeedhangthemselves Therepetitionofthefinaltwolinesfromthepreviousactattheplay sconclusionshowsthecontinuedimportanceofrepetitionandparallelisminWaitingforGodot However thecharactershaveswitchedlinesfromthepreviousact suggestingthatultimately despitetheirdifferences VladimirandEstragonarereallyinterchangeableafterall WiththearrivalofPozzoandLuckyineachact wenoticethateventhoughtheirphysicalappearancehastheoreticallychanged outwardlytheyseemthesame theyarestilltiedtogetheronanendlessjourneytoanunknownplacetorendezvouswithanamelessperson Likewise theBoyMessenger whiletheoreticallydifferent bringstheexactsamemessage Mr Godotwillnotcometoday buthewillsurelycometomorrow Finally andmostimportant therearethelargerconcepts first thesufferingofthetramps second theirattempts howeverfutile topasstime third theirattemptstopart and ultimately theirincessantwaitingforGodot allthesemakethetwoactsclearlyrepetitive circularinstructure andthefactthattheserepetitionsaresoobviousintheplayisBeckett smannerofbreakingawayfromthetraditionalplayandofassertingtheuniquenessofhisowncircularstructure Beckett sdramaticworksdon treplytothetraditionalelementsofdrama ForBeckett languageisuseless hecreatesamythicaluniversepeopledbylonelycreatureswhostrugglevainlytoexpresstheinexpressible Beckett sattitudetowardsl