| | . Contemporary Drama_ Waiting for Godot by Samuel Beckett How big a part does looking forward to the future play in your life? ‘Are you constantly making plans and dreaming about what is to come, or do you live your life in the present? Have you already planned what you want to do: ~ at the weekend? ~ during your next holiday? ~ when you have finished school? 's looking forward to the future an essential part of life? 's It possible to spend too much time planning for the future and not enough time living in the present? Discuss these issues with your classmates. INTRODUCTION @ Samuel Beckett felt that traditional forms of theatre were unable to deal with the complexities of modern existence. The absurdity which is said to characterise many of his plays is a premeditated and often comic way to make sense of today’s world. In his most famous work, Waiting for Godot, the audience is treated to a mixture of farce and existential rumination and experiences a full gamut of emotions, from side-splitting laughter to sympathetic anguish at the hopeless fate of the main characters. ‘THE STORY As Act I begins, Vladimir and Estragon are on a country road near a tree, They are ‘apparently waiting for a man called Godot, but they are not sure where, when and why they should meet him. Pozzo comes along pulling Lucky, who has a rope around his neck and is carrying two cases. The antics of the two new arrivals are an entertaining diversion for the eternally bored Vladimir and Estragon. As the Act comes to an end, a bay approaches to say that Godot cannot come today but that he will come tomorrow. What happens in Act II doesnot dif greaty from what happened in Act 1. Having slept in| Visual ik? Aifferent places, Vladimir and Estragon are together again and try to think of ways to kill time (> Text #40). Pozzo, now deaf, and Lucky, now mute, turn up again and as the play draws toa close the boy again says that Godot isnot coming today (b Text H141). What Is Terrible Is to Have Thought Q At the start ofthe second day, Vadimir and Estagon are together again. They are tying to find ways that will save them the bother of thinking. Esrracon:In the meantime let us try and converse calmly, since we are incapable of keeping silent, ‘Viapoain: You're right, we're inexhaustible, EsmmacoNs It's so we won't think. Viaonain: We have that excuse + Viadimirand i : 5 Estragon, two tramps EsttaGon: It's so we won't hear. ine Viapiin: We have our reasons, «Lucky, his slave Esrtacon:All the dead voices SAD) ‘Vusoina: They make a noise like wings Godot, chan ‘who is never seenWD 154 ne CONTEMPORARY age _ Dram, 1a ‘whisper: speak very uietly 2. rustle: make soft sounds 3. feathers: long, thin ‘objects that form a soft covering on a birds body 1 ashes: grey powder that is left when a fire dies out seeks try hard 6. prevents you from: stops you ESTRAGON: Like leaves, ‘VLADIMIR: Like sand, ESTRAGON: Like leav es. [Sil Vianna [Silence,} They all speak together, ESTRAGON: Each one to inal [silence Viabintr: Rather they whisper EsTEAGON: They ruste2 ‘Vuapnair: They murmur, Estmacon: They rustle [Silence] Vina: What do they say? EstRaGON: They talk about their lives. Viapinat: To have lived is not enough for them. EstRacon: They have to talk about it, ‘Viapnar: To be dead is not enough for them, Estaacon: It is not sufficient. [Silence] Viapiir: They make a noise like feathers’, Estracon: Like leaves, Viapimin: Like ashes*, EsTRAGON: Like leaves, [Long silence.] ‘ViapiMik: Say something! Estracon: I'm trying. (Long silence} Vianna: {fn anguish] Say anything at all! Estaagon: What do we do now? ‘VLADIMIR: Wait for Godot. Estracon: Abt [Silence] ‘Viapimir: This is awful! Estragon: Sing something ‘Viapiain: No no! (He reflects.) We could start all over again perhaps. EsTRAGON: That should be easy. Viapnar: It's the start that’s difficult EstraGon: You can start from anything. Viaonuin: Yes, but you have to decide. Estracon: True. [Silence.] ‘Vianna: Help me! Estracon: I’m trying. [Silence.] Viapnaiz: When you seek® you hear. Estracon: You do. ‘Vianna: That prevents you from finding. Gon: It does. ee That prevents you from thinking, Esrracow: You think all the same. ‘viapnan: No, no, impossible. Esreacon: That's the idea, le’s contradict each other. ‘Vapi: Impossible. yon: You think so’ ae ‘We're in no danger of ever thinking any more. 1s as 0 35 0 4s10 1s 25 4“ 0 ss EsrraGon: Then what are we complaining about? ‘ViapiMik: Thinking is not the worst. EstmAGON: Perhaps not, But at least there's that Viapiats: That what? EstRaGON: That's the idea, let's ask each other questions. ‘Viapiair: What do you mean, at least there's that? EstRAGON: That much less. ‘misery. ‘Viapimin: True, ‘EsTRAGON: Well? If we gave thanks for our mercies?” Vianna: What is terrible is to have thought. EsTRAGON: But did that ever happen to us? ‘Viapimin: Where are all these corpses® from? ESTRAGON: These skeletons. ‘Viapimir: Tell me that. ESTRAGON: True, ‘Viapimin: We must have thought a little. ESTRAGON: At the very beginning. ‘Viapimik: A charnel-house’! A chamel-house! EstRaGOn: You don't have to look. vViapinak: You can’t help looking”, EstRAGON: True, ‘Viapimin: Try as one may" EstRAGON:! beg your pardon? Viapnak: Try as one may. EstnaGon: We should turn resolutely towards Nature. ‘Viapmmir: We've tried that. EsTRAGON: True ‘Vapi: Oh, i's not the worst, I know. Estracon: What? ‘Viapmmin: To have thought. Esreacon: Obviously. ‘Viapimir: But we could have done without it. EstraGon: Que voulez-vous?!? ‘Viapmir: 1 beg your pardon? EsrRAGON: Que voulez-vous? ‘Viapinan: Ah! que voulez-vous. Exactly. [Silence] Estracon: That wasn't such a bad little canter!? ‘iapnar: Yes, but now well have to find something else, Esraacons Let me se, [He takes off his hat, concentrates ‘Veapnaik: Let me see. [He takes of his hat, [They put on their hats, relax.) a foro 5. ay 7 Mroetiwewee ambos ae whee concentrates. Long silence.} Ab Waiting for Godot ~ Samuel Becker, 8 85 e U1ry as one may: even ‘thankful for the good | tee Of dead people nV: even if ou {hing merce) 20% 10 You cart hep, lives? ‘You cannot stop yo 8, corpses: dead bodies from ecking ? UE 12.Que voulez wous?: What do 8 canter run-in this case SO __ tempt at conversation ——Waiting for Godot - Samuel Beckett Bon 157, Rather than actual i ind far Cain eamuakating with each other, Viadimir and Estragon seem to be ‘killing time’ while ways of iling time’ may conan ‘making time pass by doing a meaningless or insignificant activity. Typical favourite ways oiling ne i lesion surfing the ne or lying computer games. What are your tne? Wied venta lat activities do you do in your free time that you would not consider ‘killing ‘You think these activities are in some sense meaningful? We'll Hang Ourselves Tomorrow [SEES tis the evening of the second day and Estragon has just had a short sleep with his boots on because he could not get them off EsTRAGON: suppose I might as well get up. (He gets up painfully.] Ow! Didi! ‘Viabintn: I don't know what to think any more. EstraGON: My feet! (He sits down, tries to take off hs shoes] Help me! Viapnatn: Was I sleeping, while the others suffered? Am I sleeping now? Tomorrow, when I wake, or think I do, what shall | say of today? That 5 with Estragon my friend, at this place, until the fall of night, I waited for Godot? That Pozzo passed, with his carrier’, and that he spoke to us? Probably, But in all that what truth will there be? [EsTtAcox, having struggled with his boots in vain, is dozing off® again. V.aowrn stares at him) GLOSSARY @— He'll know nothing. He'll tell me about the blows he received and ll 10 | 1. carir- Lucky, give him a carrot. [Pause,] Astride of a grave? and a difficult birth. Down ‘ ace in the hole, lingeringly’, the grave-digger puts on the forceps®. We have * ieeer % time to grow old. The ars ful of our cries (Helse) But habit is 2 5: Ait gave great deadener®. [He looks again ‘at EstRacon.] At me too someone is acca ah Tooking, of me to someone i sayin, heis sleeping, he knows nothing, 15 (astride) of hole in "t go on! [Pause.] What have I said? (He aoe Jeep on. [Pause] I can't go on! [J dead people are _ ae - a to and fi’, hats finaly at extreme lef broods’. Enter Bo mala x ingeringy slowly ; Silence. 5. forceps: medical Bor: Mister ® (pause) Do you not recognize me? 2» pula tayo ‘Viapinan: Off we go again”. Boy: No, sit. 6. deademer: painkiller 7 fever to and fo: enon Tt wasnt you came ao ano pang No, sit. 8. broods: thinks ou ‘This is your first time. Pa sen wth so roid expen ea Yes, sit. [silence] eae. Refoce Pekan: You ave | message ON Led ‘oe ADIM: ete faring Bor: Yes: St come this evening conven Wha an: He WO" | jenetsy visit sit. I ‘10. It wasn't you came: Bor: NOS oy come tomorow iano who ‘VLaDIMAk: Yes it Fegona: without al saves, sit (seef \ i 2 COMPREHENSION —— 1 Why, according to Estragon, do he and Viadiir talk continually? (Lines 1-8) 2. What do the two characters compare the sound of dead voices to: = intines 9-12? = inines 25-287 ‘3 What do the dead tak about, according to Estragon, in ine 20? 4 What does Viadimir ask Estragon to do inline 29? ‘What does Estragon ask Vladimir to do inline 36? What, according to Viadimir, i difficult? (Line 39) ANAS 11 though they are engaged in a cialogue, the two characters rarely seem to communicate with each other. Can you find examples in which each character seems to be pursuing an independent ine of thought? 2 Several statements made by the characters suggest that their main concem isto pass the time speaking, even if this does not involve real communication. Can you find evidence thatthe characters are primarily interested in filing up their empty and meaningless time with words? +3 Repettion*is widely used throughout the scene. Find examples of sentence structures that are repeated. What effect does repetition create? I It makes the language more poetic I It undertines the meaning of what the characters are saying, Ithighights the meaninglessness of what sid ‘4. How would you define the language used by the two characters? sions does Viadimir draw about tg aid thoughts in lines 57, 65, 83 and 877 7 What do the characters do at the end ofthis exchange? a '5 Underline words and phrases relating to death in the passage. Death is a recurring theme®in the characters’ exchanges. Are the characters’ thoughts about death clearly expressed? How do references to death affect the tone* ofthe passage? They make it more: melancholic E philosophical BE detached sombre Bemotional Rother: . smc | 6 Which adjective(s) would you choose to describe the two characters? E Comic i Pathetic E llogical E Realistic B Absurd B imitating E Philosophical a Other: : 7 Consider the stage directions. _ oo? The rahe tage directions". What do they focus 7 E Simple 1B Complex movement : cae anaes pital facial expressions Formal E Other: B tone of voice Are there any points inthe scene where the language becomes musical or poetic? woe STAGING THE PLay n actor d ; exchanges between two or more acti elivers his lines, In a scene involving between the actors’ lines. Chan, mood ofa piece and its impact Perform the passage twice for y accelerated delivery forthe fst the rest ofthe lass discuss how on the audience, BEELER Worn ps. choos brie passage ur cl tes Performanee -299iN9 the "ying the timing ch OTs It also re sing the timing *rS to the length of pause allowed Of delivery can completely alter the 1045 ne) from Text H40 and learn it by heart. on a9 of delivery (or example ere Clvery forthe second). With impact ofthe performance. Kes —_—_—— EEya AS8_ THE CONTEMPORARY AGE - Drama l| Viapimin: Did you meet anyone? Boy: No, sir. \ Viapinin: Two other... [He hesitates}... men? Boy: I didn’t see anyone, sir, [Silence] Viapina: What does he do, Mr Godot? [silence Do you hear me? Bow: Yes, sir. Vuapinan: Well? Bor: He does nothing, sir. Silence ‘Vianna: How is your brother? Boy: He's sick, siz, Viabiik: Perhaps it was he came’? yesterday. Bor: I don’t know, sr. [Silence] “6 Viapinin: [Softly] Has he a beard, Mr Godot? | Boy: Yes, sir. | Viabinam: Fair or ... [He hesitates)... or black? Bor: I think it’s white, si. [Silence] ‘Viapina: Christ have mercy on us! [silence] 30 Boy: What am Ito tell Mr Godot, sir? ‘Viapnak: Tell him... (He hesitates}... tell him you saw me and that ... [He hesitates)... that you saw me. [Pause. Viabia advances, the Bov recoils, Viapinin halts, the Boy halts. With sudden violence.) You'te sure you saw me, you won't come and tell me tomorrow that you never saw mel 55 t [Silence. VLabmiR makes a sudden spring’ forward, the Boy avoids him and exit running. Silence. The sun sets, the moon rises. AS in Act One. Vana stands motionless and bowed!®. EsteAGON wakes, takes off his boots, gets up I with one in each hand and goes and puts them down centre front, then goes | towards Vapwa.] @ | Estracon: What's wrong with you? i Viapinar: Nothing. | i Estracon:'m going, 38 pesiieatiia $ | Vianna: So am L | Esreacon: Was Ing asleep? . i Vianna: I don't know. [silence] | srracon: Where shall we go? li ‘Viapma: Not far \ Estaacon: Oh yes, let’ go far away from here. i vViapmir: We can't. . Hy 2 acon: Why not? ave to come back tomorrow. Vianna: We hi i Esrracon: What for? ' ' 12it was he came: ‘viapnar: To wait for Godot. He didn't come? ‘was he who came 13.recoils: takes 3 St? : Ab! [silence] vyiapinin: No. Esraacon: And viapinak: Yes, now gsrmacon:And if we now it's too late ; its night. dropped him? [Pause] If we dropped him"?Viaonme He'd punish us [slic He oaks a te tee.) Everything's dead but the tree Esrmacon: [Looking atthe tre] What is it? Veaninans It's the tree EstaAGoN: Yes, but what kind? . Vermin: Ledon't know, A willow", [ESmAGON draws’ 85 Vianinnn towards the tree. They stand motionless before it, Silence] Esreacon: Why don’t we hang ourselves? Vianina: With what? EstRAGoN: You haven't got abit of rope? %0 Vianna: EsrxaGon:Then we can't [silence] Viaonsa: Let's go Esraacos: Wait, there's my belt Vianna: Its too short. 8 Estracow:You could hang on!® to my legs. Vianna: And who'd hang on to mine? Esmicow- Tue ‘Vuaonen: Show all the same”, [EsraxGon losens2! the cord that holds up his ‘trousers which, much to big for him, fall about his ankles. They look at the cord. It might do at a pinch?®, Bu is it strong enough? Estracow: Well soon see, Here. [They each take an end o breaks. They almost al Visonar: Not worth a curse, [Silence] Esrzacow: You say we have to come back tomorrow? Vianna: Yes. Esteacon: Then we can bring a good bit of rope. Viaonae: Yes, [Silence] Estracow: Didi Viaoms: Yes Est#4GON: can’t goon like this, Vianna: That's what you think Esmmago¥: If we parted? That might be better for us, Vianna: Well hang ourselves tomorrow, (2 Esrpacon: And if he comes? ison: We'll be saved, [Viapia it, fels about inside it, shakes i, EsrsAcon: Well? Shall we go? Viaoinax: Pull on your trousers, Estragon: What? Viapiuit: Pll on your trousers Esrragow: You want me to pull off my trouser? Viapnure: Pull on your trousers, EstaAcOn: [Realizing his trousers are dow vVtapnait: Well? Shall we go? Esmmacon: Yes, let’s go. [They do not move {Cuntan] ifthe cord and pull. It ‘ause.| Unless Godot comes, WK takes off his hat [Lucky ‘S, peers? Ack on the cron? pee side + Puts itn again) "1 Tu, UHe pus up His trousers.) 100 10s no us 120 bs ‘Hell tel me about the blows he received and give hi o care. 17-willow: tree with long, this, hanging branches that go¥s 18. draws: pls 19.hang on: hold oa 20,Show al the same ‘show me anyray 21 Joosens unties 3 22. about: around 23.1 might dost pinch might be ok 2A.Not worth aca completely wel 2s pared: sepa 26 pers: looks as 27.erown: upper Po" the at that core, the top ofthe PN i i i ins 160 THE CONTEMPORARY \l AGE- Drama COMPREHENSION 1 What, accordin Siri, wil 19 to Vladimir, wil abouthen wake ea will Estragon tll him, 2 Does the boy recognise Viaimir? 3 When, according tothe boy, wll Godot come? 4 What does Godot do, according to the boy? 5 What does Viadimir ask the boy to tell Godot? Why, according to Vladimir, can he and Estragon not go far? 7 What would Godot do if the two characters dropped him, according to Vladimir? ANALYSIS 11 Focus on Vladimir's soliloquy' (ines 4-18) and find references to the following topics: — death — birth - suffering - ageing, Does Viadimir provide answers to the questions he poses? 2 Examine the dialogue between Vladimir and the boy. What patter is repeated throughout the conversation? What does the pattern highlight? IE That the situation repeats itsef. IE That the boy is intimidated by Vladimir and agrees with everything he says. 1E That Viadimir is surprised by the news the boy brings. 3 In ines 52-60 Vladimir becomes particularly ‘animated. What message does he desperately want the boy to take back to Godot? ines 88-108 the tramps contemplate suicide. ; ae their attitude towards taking How would you describe their own lives? 1 Emotionless I Rebellious Apologetic Resigned '8 What suggestion does Estragon make inline 88? Why cannot they carry out Estragon's propos? Is the solution Estragon suggests to the problem of the short rope logical? 9 What, according to Vladimir, will happen if Godot comes? 10 What final suggestion do the two characters rmake? Do they follow the suggestion? '5 What information is provided about Godot in the ‘exchanges between Vladimir and the boy? In the conversation between Viadimir and Estragon (lines 79-81), which detail suggests that Godot may not be an entirely benevolent figure? {6 Humorous misunderstanding and jokes can be found throughout the play. Find an example of verbal /humour* in lines 81-85 and two examples of physical hhumour* atthe end of the scene. 7 Focus on the stage directions. Find examples in| which the stage directions seem to contradict what the actors say. ‘8 There has been much debate about the identity of Godot. When asked what Godot represented Beckett replied, ‘If knew I would have said so in the play’. Critics have suggested that the mysterious presence that never appears may represent God, religion, ideologies, anything which gives meaning to lie. ‘On the basis ofthe scenes you have read, what do you think Godot represents? Which do you think is more important in the play: the identification of Godot or the experience of waiting? ‘adimir and Esra Friends 1 Success y tin B Religion/Spirtuality E Political ideology B Culture (Music, Ar, Literature) BLeaming E Others: Explain your choices to a classmate .gon spend their time waiting for Godot, who they hope will give meaning to their lives, Which the folowing are most important in making your fe meaningful?Waiting for Godot - Samuel Becket, ___——_{ to the world of music ance of Beckett's Waiting for Godot for the video the play are LINK Canadian singer ogee a ee ion ‘ peo echoed inthe Song. Scan the ong other 1992 ht song ‘Const a". S eee ker ameing ro make Me meaning Constant Craving! Ae tang Ben Mink Even through the darkest phase kor thin? Always someane marches brave Here beneath my skin Constant craving Has always been Maybe 2 great magnet pulls All souls towards truth Or marte itis ie isel? ‘That feeds wisdom Toits youth Constant craving Hias always been Craving Ab ha (Constant craving Hias always been Constant craving Has always been Constant craving Has always been (Craving Ab ha Constant craving Has always been Has always been Has always been Has always been Has always been Has always been GLOSSARY 1. Craving: strong desire 2. thick or thin: the expression ‘through thick and thin’ means through good times and bad times162 1 V" Ween HE CONTEMPORARY AGE - Drama _ aM a eee Samuel Bec ‘ket arly years was born in Jreland into a well-to-do middle-class family After taking, a degree in languages, 4 he spent two years in Parls as a lecturer, In 1930 he returned to Dublin and took a post asa French teacher at Trinity College Unhappy with academic life, he set out on a nomadic journey across Europe, He then spent two years (1935-1936) in London without a steady source of income and affected by depression. France |n 1937 Beckett decided to move permanently to France. He settled in Parls and devoted himself completely to writing, At the beginning of the Second World War he worked for the French Resistance asa translator, but had to flee Paris in 1942, At the end of the war he returned to Paris and began writing works in French, almost all of which he, himself, later translated into (1906-1989) English himself. In the years 1946-1949 he wrote a trilogy of novels based on the interior- ‘monologue technique, which depict in various ways the hopeless anguish of individuals trapped in grotesque situations: Malone dies, and Unnamable Waiting for Godot _In 1953 Beckett's play Waiting for Gdot established him as one ofthe most original and influential dramatists of the century. In the play two homeless men are waiting for the enigmatic ‘Godot’. To pass the time they tell jokes play games, eat, sleep and speculate about Godot. When itis lear that Godot will not arrive they consider suicide, but then simply decide to leave. The play ends with the two characters motionless as they stare vacanty into the emptiness of the audience (» Text H41). Themes In his subsequent works Beckett continued to push the boundaries of playwriting. His jch there is almost no characterisation, or plot, or final solution, have dark and le against the futility of life, his sense of loneliness and boredom, and g communication with others. In Beckett's plays lonely people exist .nts. They are paralysed by their hopelessness and inability to take se, syncopated language that does not help them to works, in whi recurring themes: man’s struggl the impossibility of establishin; in gloomy, empty, alien environme action. Their alienation is expressed in conc achieve meaningful communication. Saher plays Becket’ impresve output includes, among other, Endgame (1957) a playin a two people share a room with two other people who are in dustbins. Again, there is no perceivable time or setting, and nothing happens In Kiapp’s Last Tape (1960) an old man sits alone in his room tistening to tape recordings from various moment's of his past. Nothing exists for him but his voice and ‘memories. In Happy Days (1961) middle-aged Winnie is buried up to her waist in a mound of earth in the oontze ofthe stage she to wating n 20 for someone or something to come and ease her pain. Theatre of the Absurd Becket’ work had a profound effect on the world of drama. Eugene ‘o and Jean Genet in France, Harold Pinter (b pp. H169-173) in Britain and the Czech Vaclav Jonesco and Jat the movement that was inspired by Beckett and became known asthe Theatre a yen vaval Link H7). Inthe 1960s Beckett continued to produce ground-breaking, of the Absurd Oo the theatre, television and radio. In 1969 he was awarded the Nobel Prize for oer He ved in Paris in 1969 atthe age of elght-tree, Literatur TASK tural and thematic elements that make Beckett’ plays prepare a brief talk in which you highlight the struct rep innovative.