Where’s Godot?

Been a long time since I saw this play, but I re-read it last week. I remember feeling hopeless after watching the play, and that’s the mood it leaves one in; maybe not everyone. Just depends on your outlook and how your mind is at the time you consume it. It’s a post-modernist work, which goes against my grain, as I’m not too fond of modern stuff; if I’ve not made that clear enough in this blog as yet, then, there it is, reiterated. Sometimes I’ll humour a piece of modern work if I think there’s a decent point to it; and yet again, I find myself embroiled in trying to understand how the mind of the existentialist works?

As an aside, and as I’ve said before, I refuse to allow the existentialist viewpoint, however moody a play or some literature such as this leaves me, to cloud my faith; a nice few short prayers and a leaf through my bible soon refreshes and washes away the stink of existentialist angst. Admittedly, I need those cleansing showers often. I don’t doubt my faith, but I do have to shore it up occasionally when I allow stuff like this to needle me.

Again, a long time ago, Vladimir and Estragon made an appearance in a Loudon Wainwright III song, On the Road Again, I think it is?

I do talk rubbish sometimes, so anyway, let’s press on. Here’s my little contribution to the play.

“Waiting for Godot,” written by Samuel Beckett, is a work of modern drama and a quintessential example of the Theatre of the Absurd. First published in 1952 and premiered in 1953, the play represents a departure from traditional narrative and theatrical conventions, focusing instead on existential themes, bleak humour, and minimalist structure. I heartily recommend minimalism by the way; life can be so much tidier like that.

Plot Summary The play features two characters, Vladimir and Estragon, who wait for a person named Godot, whose arrival they believe will bring purpose or direction to their lives. Throughout two acts, they engage in repetitive conversations, meet other characters (Pozzo and Lucky), and experience fleeting moments of hope and despair. The play famously ends with Godot never arriving, leaving the characters in an ambiguous state of waiting.

Major Themes

1. Existentialism and Absurdity
   • The core theme of “Waiting for Godot” is existentialism, particularly the absurdity of human existence. Beckett explores the idea that life may lack inherent meaning, and the characters’ continuous waiting symbolises the human search for meaning in a seemingly indifferent universe.
2. The Futility of Waiting
   • Vladimir and Estragon’s constant waiting for Godot, who never arrives, exemplifies the idea of futility. This interminable wait reflects the uncertainty and ambiguity that characterise human life. The characters’ repeated discussions about leaving yet never doing so underscore this sense of inertia and aimlessness.
3. Time and Memory
   • Time in “Waiting for Godot” is ambiguous and non-linear. The characters often struggle with memory, and the continuity between the two acts is deliberately unclear. This approach to time suggests the lack of progression or development in their lives, reinforcing the theme of existential stagnation.
4. Interdependence and Isolation
   • Although Vladimir and Estragon frequently consider separating, they ultimately remain together, illustrating the human need for companionship and connection. Their interdependence contrasts with the sense of isolation that permeates the play, emphasising the tension between the desire for human connection and the inherent loneliness of existence.
5. Humor and Tragedy
   • Beckett’s use of humor, especially through dialogue and physical comedy, introduces a lighter tone to the play while simultaneously deepening the sense of despair. The absurdity and banality of their conversations, coupled with their comical interactions with Pozzo and Lucky, highlight the tragicomic nature of the human condition.

Character Analysis

• Vladimir and Estragon
  • Vladimir (Didi) is more intellectual and philosophical, frequently contemplating the nature of their situation and invoking religious themes. Estragon (Gogo), on the other hand, is more practical and focused on physical discomforts like hunger and fatigue. Together, they represent a balance of thought and action, or perhaps the dual aspects of a single consciousness.
• Pozzo and Lucky
  • Pozzo is a domineering character, often seen as a symbol of authority or societal structures. His interactions with Lucky, his subservient companion, demonstrate the dynamics of power and control. However, in the second act, Pozzo becomes blind, emphasising the transient nature of power and stability.
• Godot
  • Although never appearing, Godot represents the abstract concept of salvation, hope, or meaning. His absence raises questions about faith and the human tendency to seek answers in external sources, only to find emptiness – this really could be a huge can of worms should you think too deeply on it, and can mess with one’s faith, should it already be shaken.

Symbolism “Waiting for Godot” uses minimalist sets and props to convey its themes. The barren tree, for instance, symbolises the desolation and barrenness of the world the characters inhabit. The change in the tree’s leaves between the two acts suggests that time is passing, albeit ambiguously.

Impact and Legacy “Waiting for Godot” has had a profound influence on modern drama and literature. It challenged traditional notions of plot and character development, ushering in a new era of experimental theater. Its exploration of existential themes and absurdity continues to resonate with audiences and has inspired a generation of playwrights and artists.

“Waiting for Godot” is a seminal work that delves into the human condition’s complexities through a minimalist and ambiguous lens. Its themes of existential absurdity, the futility of waiting, and the search for meaning continue to captivate and challenge audiences worldwide.

Whilst I find this play incredibly interesting, I shelve it in the same category as I would installation art, or certain, rather most if I’m honest, performance artworks – most of which, I most definitely do not find interesting.

One word sums up this piece of work, and true to its genre. Absurd.