Waiting for Godot (Acting Edition) [Paperback]

The play starts with two men, Vladimir and Estragon, sitting on a lonely road. They are both waiting for Godot. They don't know why they are waiting for him, but they think that his arrival will change things for the better. The problem is that he doesn't come, although a kid does so and says Godot will eventually arrive. Pozzo and his servant Lucky, two other characters that pass by while our protagonists are waiting for Godot, add another bizarre touch to an already surreal story, in which nothing seems to happen and discussions between the characters don't make much sense.

However, maybe that is exactly the point that Samuel Beckett (1906-1989) wanted to make. He was one of the most accomplished exponents of the "Theatre of the Absurd", that wanted to highlight the lack of purpose and meaning in an universe without God. Does Godot, the person that Vladimir and Estragon endlessly wait, symbolize God?. According to an irascible Beckett, when hard-pressed to answer that question, "If I knew who Godot was, I would have said so in the play." So, we don't know. The result is a highly unusual play that poses many questions, but doesn't answer them.

Ripe with symbolism, "Waiting for Godot" is a play more or less open to different interpretations. Why more or less open?. Well, because in order to have an interpretation of your own, you have to finish the play, and that is something that not all readers can do. "Waiting for Godot" is neither too long nor too difficult, but it shows a lack of action and purpose in the characters that is likely to annoy many before they reach the final pages, leading them to abandon the book in a hurry. That is specially true if the reader is a student who thinks he is being barbarously tortured by a hateful teacher who told him to write a paper on "Waiting for Godot" :)

My advice, for what it is worth, is that you should persist in reading it. If it puts you to sleep, try reading it aloud with some friends, and discuss with them the implications of what happens with the characters. This play might not be thoroughly engaging, but it changed theatre and the possibilities opened before it forever. In a way, it provoked a blood-less revolution, and because of that it deserves at least a bit of our attention.

Belen Alcat

I won't explain the plot, it serves no purpose as other reviewers have kindly done that. The central character of the play is Godot, which is ironic seeing as he is totally absent from the action (oh another point, there is no action). Yet, it is this absence, this sepulchre which haunts the minimalist discourse of the characters which is so appealing.

Beckett is a master of audience bewilderment. What exactly is the context of this play? Like Endgame, the context, or setting, is undoubtedly of a dystopian variety. I get a very chilling sense that there is also a warning to the hazards of war etc in the claustrophobic and sparsely populated setting of this play. Like Engame, there is a sense of the 'aftermath' of some fatal catastrophe (think 'Oryx and Crake without the Crakers).

We know that Beckett is hailed as a great figure within the 'absurdist theatre' - that is to say that many of his works explore the futility of existence and the fragile and desperate nature of humanity and as such many of the interpretations which we impose on the play will stem from this. Obviously, 'Godot' is a play on 'God'. The characters lives resolve around waiting for this character to appear. They don't know what he does, where he comes from, what he looks like or even who he is yet they wait. They squander their lives in waiting for this enigmatic figure they have no proof even exists. Sounds funny, but then one wonders, is Beckett satirising religion?

The two main characters are appeased by the pledges of a boy who promises Godot will come, but who subsequently never shows. As such, they accept their degradation in return for deferred gratification. Blake, in Songs, uses this analogy for the church, arguing that the church manage to dominate and emasculate the people through vacuous promises of greatness at later dates.

Vladimir and Estragon discourse about 'Godot' as it gives their ultimately futile lives meaning. Is Beckett implying that theism is merely 'naive indulgence' aimed at distracting us from the truth of our own futility? Yes, an extremely existentialist question but when one looks at the context of his writings it appears that much more poignant.

Enjoy !