Mae Chow
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“If a good play must have a cleverly constructed story, these have no story or plot to speak of; a good play is judged by subtlety of characterization and motivation, these are often without recognizable characters and present the audience with almost mechanical puppets; a good play has to have a fully explained theme, which is neatly exposed and finally solved, these often have neither a beginning nor an end; if a good play is to hold the mirror up to nature and portray the manners and mannerisms of the age in finely observed sketches, these seem often to be reflections of dreams and nightmares; if a good play relies on witty repartee and pointed dialog, these often consist of incoherent babblings 🤓”
The above mentioned discussion allows us to call “Waiting for Godot” as an absurd play for not only its plot is loose but its characters are also just mechanical puppets with their incoherent colloquy. Its theme, above all else, is unexplained. “Waiting for Godot” is an absurd play for it is devoid of characterization and motivation. Although characters exist, they aren’t identifiable for what they do or how they present it. Its dialog style is absurd in that there are no clever repartee or pointed dialogue. It is merely incoherent and rambling, with no clear or meaningful ideas. The action and the main theme are at the same level as Absurd Theater. We learn that the play is not unusual and there are no significant changes in its setting. Although there is a slight change, it’s only because the tree now has four to five new leaves. This was amended by Noah Green, Barranquilla (Colombia), November 12, 2020
Martin Esslin, the critic responsible for coining the term “Theatre of the Absurd,” defines absurdity as “that which has no purpose, goal, or objective”. After the horrific events of September 11, 2001, France saw this movement emerge. World War II is a revolt against traditional values and beliefs in literature and culture. The Theatre of the Absurd has almost all of its playwrights share the existentialist view of absurdity, and even nothingness. This theatre, however, “has renounced arguing about the absurdity of the human condition; it merely presents it in being — that is, in terms of concrete stage images of the absurdity of existence.” They disregard all the standards that have been used to judge drama over many centuries. They don’t pay much attention to plot development, characterisation, or defining a theme. Literature of the Absurd is a bizarre term that rejects any pattern or development. Adrianna casas updated this version on March 17, 2020.
Grin.com goes on to explain that the subtitle A Tragicomedy in Two Acts consists of two important words within the word “Tragicomedy“, namely “tragic“ and “comedy“. The first refers to the interminable process of waiting. However, the second may be used to indicate the irony of the waiting. How they wait, what they do while waiting, etc. This could be taken as funny. The play also reveals the names of Vladimir (Didi), Estragon and Gogo. These tender names give the impression that Didi and Gogo are a kind of „comic couple“ – a couple that is sometimes in love and sometimes wants to separate. They can’t live apart and they are unable to live together.
The waiting for Godot begins the play. The Godot’s identity is unknown. Estragon (a passerby) and Vladimir (a spectator) wait for Godot to arrive at the end of the play. There are only two acts to the play, and one-day of time difference. It seems that the time is stopped. The characters can’t remember what happened and even cannot find the exact place. These absurdities, this uncertainty, and the loss of place and time all show that human existence has no meaning. Estragon begins with the statement “Nothing to do.” Michaella Woody revised the opening statement of Estragon on February 24, 2021.
