waiting for Godot 等待戈多 荒诞派戏剧经典
论《等待戈多》中的循环与荒诞
论《等待戈多》中的循环与荒诞《等待戈多》是法国作家塞缪尔·贝克特的一部戏剧作品。
作品于1952年首次在巴黎上演，并获得了巨大的成功，被誉为20世纪最重要的戏剧之一。
《等待戈多》以其独特的风格和主题探讨了人类存在的意义和绝望，同时运用循环和荒诞的元素，给人们带来了深思。
循环是《等待戈多》中最重要的主题之一。
整个剧本只有两个角色——弗拉基米尔（Vladimir）和埃斯特拉贡（Estragon），他们一直在等待一个名叫戈多（Godot）的人的到来。
这种等待以不断的循环和重复为特点，凸显了人类存在的无尽重复和绝望的感觉。
剧中的对话和动作都是重复的，在短暂的间隙之后又回到原点，形成了一个看似无尽的循环。
循环反映了人们生活中常常出现的“等待”的现象。
弗拉基米尔和埃斯特拉贡等待戈多的到来，但戈多却从未出现。
这种等待的无果和失望，使得他们感到无能为力和绝望。
这种经历让人联想到现实生活中我们所处的循环中，例如每天的相同的工作、相同的生活习惯、反复发生的事件等等。
人们不断地在循环中重复，但往往感到毫无意义和清晰的方向。
荒诞是《等待戈多》的另一重要元素。
整个剧本中出现了一系列荒谬和违反常规的情节和对话。
弗拉基米尔和埃斯特拉贡进行了一连串奇怪的对话，他们的言谈举止充满了荒诞和幽默。
他们谈论鞋子的大小，却无法确定鞋子的颜色；他们试图寻找一种方式来悬挂自己，但又没有找到合适的工具。
这些情节和对话的荒谬性使观众感到不可思议和荒唐。
荒诞暗示了人类生活的荒谬和无意义。
人们经常陷入不可理解的情况和无意义的对话中，而不知道为什么要这样做。
贝克特通过极端荒唐的表现手法，揭示了人类存在的虚无和荒谬。
观众通过观察剧中角色的荒唐行为，对自己的生活和存在产生了反思。
《等待戈多》中的循环与荒诞是塞缪尔·贝克特希望通过戏剧作品探讨的主要主题。
循环和荒诞不仅体现了人类存在的重复和无意义，也让人们反思自己的生活中是否存在着无尽的重复和虚无。
论《等待戈多》的荒诞性戏剧特征
论《等待戈多》的荒诞性戏剧特征论《等待戈多》的荒诞性戏剧特征摘要《等待戈多》作为荒诞派戏剧全盛时期的代表之一，其与传统戏剧“背道而驰”的特征表现的尤为明显，可以说是整个戏剧史上的一朵奇葩。
剧本以存在主义的哲学视角对人类的生存危机和世界的荒诞性进行了深刻的揭示，极为清晰的展现了那个时代西方社会发展的“荒诞性”因素。
然而剧中所展现的种种荒诞现象并不是作者臆想而来，而是由现实世界转化而来，因而对其进行深入研究的社会意义是广泛而深刻的。
本文拟就戏剧人物、主题、情节与结构、语言四个方面对《等待戈多》进行研究，从中分析其荒诞性特征，并就《等待戈多》的现实意义进行相关论述。
关键词：荒诞派戏剧；荒诞性；等待戈多；非人Abstract"Waiting for Godot", as one of the representatives of the absurd drama, is characterized by its "opposite" to the traditional drama, which can be regarded as a wonderful work in the whole history of drama. From the perspective of existentialism, the script reveals the survival crisis of human beings and the absurdity of the world, and shows the "absurd" factors of the western society development. However, the phenomenon of absurdity in the play is not from the author's imagination, but from the real world. Therefore, the social significance of the in-depth study is extensive and profound. This paper intends to drama theme, characters, plot and structure of language, four aspects of research on "waiting for Godot", analyzes its features from the absurdity, and relevant discussion on the practical significance of "waiting for Godot".Key words: Absurd drama; absurdity; waiting for Godot;inhuman目录摘要IAbstract II一、荒诞派戏剧1二、荒诞：《等待戈多》的鲜明特征1（一）“非人”的戏剧人物2（二）主题的荒诞3（三）情节、结构的荒诞51.“消失”的情节52.荒诞的结构6（四）语言的荒诞6三、结语：《等待戈多》——照进现实的戏剧之光8参考文献9谢辞10一、荒诞派戏剧荒诞（absurde）一词的词源属于音乐领域：在拉丁语中，absurdus（听不到的，聋的）意思是“不在声音中的东西，不协和的、不调和的东西”。
荒诞派戏剧等待戈多
2、剧情： 、剧情： 这是一个两幕剧，出场人物共有 个 两个老流浪汉──爱斯特 这是一个两幕剧，出场人物共有5个：两个老流浪汉 爱斯特 拉冈(又称戈戈 和弗拉季米尔(又称狄狄 又称戈戈)和弗拉季米尔 又称狄狄)， 拉冈 又称戈戈 和弗拉季米尔 又称狄狄 ，奴隶主波卓和他的 奴隶“幸运儿” 音译为吕克 还有一个报信的小男孩。 音译为吕克)， 奴隶“幸运儿”(音译为吕克 ，还有一个报信的小男孩。故事 发生在荒郊野外。 发生在荒郊野外。 第一幕。黄昏时分，两个老流浪汉在荒野路旁相遇。 第一幕。黄昏时分，两个老流浪汉在荒野路旁相遇。他们从何 处来，不知道，惟一清楚的，是他们来这里“等待戈多” 处来，不知道，惟一清楚的，是他们来这里“等待戈多”。至 于戈多是什么人，他们为什么等待他，不知道。在等待中， 于戈多是什么人，他们为什么等待他，不知道。在等待中，他 们无事可做，没事找事，无话可说，没话找话。他们嗅靴子、 们无事可做，没事找事，无话可说，没话找话。他们嗅靴子、 闻帽子、想上吊、啃胡萝卜。波卓的出现，使他们一阵惊喜， 闻帽子、想上吊、啃胡萝卜。波卓的出现，使他们一阵惊喜， 误以为是“戈多”莅临， 误以为是“戈多”莅临，然而波卓主仆做了一番令人目瞪口呆 的表演之后，旋即退场。不久，一个男孩上场报告说， 的表演之后，旋即退场。不久，一个男孩上场报告说，戈多今 晚不来了，明晚准来。第二幕。次日，在同一时间， 晚不来了，明晚准来。第二幕。次日，在同一时间，两个老流 浪汉又来到老地方等待戈多。 浪汉又来到老地方等待戈多。他们模模糊糊地回忆着昨天发生 的事情，突然，一种莫名的恐惧感向他们袭来，于是没话找话、 的事情，突然，一种莫名的恐惧感向他们袭来，于是没话找话、 同时说话，因为这样就“可以不思想” 可以不听” 同时说话，因为这样就“可以不思想”、“可以不听”。等不 来戈
贝克特荒诞派戏剧的的代表作《等待戈多》简介
贝克特荒诞派戏剧的的代表作《等待戈多》简介塞缪尔.贝克特一九零六年出生于爱尔兰一个犹太人家庭。
贝克特读中学时即酷爱戏剧，他于一九二七年毕业于都柏林三一学院，因其学业优异, 次年至一九三零年间应聘到巴黎高等师范学院和巴黎大学任教，此间，他结识了侨居巴黎的英国颓废派作家詹姆斯乔伊斯，并深受其影响。
二战间，巴黎沦陷，他曾参加过地下抵抗组织。
战争结束后，他专门从事文学创作。
战争给世界带来灾难的同时，给他的心灵也带来了深深的创伤。
贝克特从青少年时代即开始写作，到战争结束时，他已有不少诗歌和小说作品问世，一九四八年到一九四九年的小说作品有长篇小说三部曲《莫洛伊》、《马洛纳正在死去》、《无名的人》，这些小说都意在说明,人生是周而复始的艰辛而又虚无的浪游,是内心的狭小的,而又毫无意思的浪游。
这些小说已经暴露出了他悲观厌世的人生态度,以及他反现实主义的文学主张。
这在他稍后的戏剧创作中表现得更加突出。
他于一九四八年创作的《等待戈多》,是其中成就最高,影响最大,最有代表性的荒诞派戏剧作品。
这是一部两幕剧。
第一幕,主人公流浪汉爱斯特拉冈（简称戈戈）,和弗拉基米尔（简称狄狄）,出现在一条村路上,四野空荡荡的,只有一棵光秃秃的树。
他们自称要等待戈多,可是戈多是谁?他们相约何时见面?连他们自己也不清楚。
但他们仍然苦苦地等待着。
为了解除等待的烦恼,他俩没话找话,前言不搭后语,胡乱的交谈,他们一会儿谈到忏悔，一会儿谈到应该到死海去度蜜月，一会儿又讲到《福音书》里救世主和贼的故事;还说这样一些话：“我觉得孤独”，“我作了一个梦”，“我很快活”--并且没事找事,做出许多无聊的动作：狄狄脱下帽子，往里边看了看，伸手进去摸，然后把帽子抖了抖，吹了吹，重新戴上;戈戈脱掉靴子往里边瞧，又伸手进去摸……可是戈多老是不来,却来了主仆二人,波卓和幸运儿。
波卓用一条绳子牵着幸运儿,并挥舞一根鞭子威胁他。
幸运儿拿着行李，唯命是从。
狄狄和戈戈等啊等啊，终于等来了一个男孩，他是戈多的使者，他告诉两个可怜的流浪汉，戈多今晚不来了，但明天晚上准来。
从《等待戈多》解析法国荒诞派戏剧
从《等待戈多》解析法国荒诞派戏剧摘要在戏剧越来越大众化的今天，中西方戏剧、新式戏剧与传统戏剧逐渐进入普罗大众的审美视野。
传统的西方戏剧形式完整、叙事明白，而“法国荒诞派戏剧”此类的新式戏剧一般受众则更为陌生。
为此我们便有了了解新戏剧的代表——法国荒诞派戏剧的必要。
在此，本人便借《等待戈多》这部作品，就法国荒诞派戏剧的主题与形式对其进行解析。
以期通过对其了解指导对新式戏剧的审美与创作。
【关键词】：《等待戈多》；法国荒诞派戏剧；解析；主题；形式AbstractAs the drama becomes more and more popular, Chinese and western dramas, new plays and traditional dramas gradually enter the aesthetic vision of the general public. The traditional form of western drama is complete and narrative, while the modern drama of "French theatre of the absurd" is a stranger. So we have a representation of the new drama -- the French theatre of the absurd. In this case, I borrowed "waiting for godot" to resolve the subject and form of the French theatre of the absurd. In order to understand the aesthetic and creation of the new drama.Key words: Witting for godot; The French theatre of the Absurd; Analysis; Theme; Form目录摘要1【关键词】1绪论3一、《等待戈多》41. 《等待戈多》简介42. 简析《等待戈多》4二、从《等待戈多》中解析法国荒诞派戏剧111. 从《等待戈多》到法国荒诞派戏剧112. “荒诞的体验”的主题与“人的孤独”的主题123. 解构、非理性的创作手法与独特的戏剧语言的使用144. 痛苦的生与同样痛苦的死——挣扎在生死边缘的人物16结语17谢辞17参考文献181绪论无论是对于“法国荒诞派戏剧”还是现代主义文学，《等待戈多》都是一部具有划时代意义的戏剧作品。
等待戈多 的荒诞戏剧
等待戈多的荒诞戏剧《等待戈多》是爱尔兰剧作家塞缪尔·贝克特的一部荒诞派戏剧作品，它以独特的风格和深刻的内涵引发了人们对于存在、意义和希望的无尽思考。
这部戏剧的场景极为简单，一条乡间道路，一棵枯树，两个流浪汉爱斯特拉冈和弗拉季米尔，就在这看似平常却又充满荒诞的环境中，等待着一个名叫戈多的人。
然而，从始至终，戈多都未曾真正出现。
故事中的爱斯特拉冈和弗拉季米尔，他们日复一日地等待，没有明确的目的，也不知道为何等待。
他们的对话琐碎、无聊，充满了重复和无意义的内容。
一会儿谈论着靴子、帽子，一会儿又纠结于是否要上吊自杀。
这种看似毫无逻辑的对话，其实正是荒诞的一种体现。
生活中的我们，又何尝不是在许多时候陷入类似的无意义的循环和琐碎之中，却不自知？他们的等待是一种绝望中的希望。
尽管不知道戈多是谁，不知道他来不来，甚至不知道等待的意义何在，但他们依然选择等待。
这种等待，反映出人类在面对未知和迷茫时，内心深处那一丝不愿放弃的希望。
就像我们在生活中，常常对未来抱有某种期待，哪怕这种期待是模糊不清的，也愿意为之坚守。
《等待戈多》中的时间概念也是模糊不清的。
没有明确的白天黑夜，没有具体的时间流逝，只有无尽的等待。
这种对时间的模糊处理，让观众感受到一种永恒的困境。
时间在流逝，而等待的人却仿佛被困在了一个时间的牢笼中，无法逃脱。
这不禁让人思考，在我们的人生中，是不是也有许多时候感觉时间在匆匆而过，而我们却在原地徘徊，找不到前进的方向？戏剧中的人物形象也是荒诞的典型。
爱斯特拉冈和弗拉季米尔既可怜又可笑，他们衣衫褴褛，行为怪异，却又执着地等待着那个未知的戈多。
而波卓和幸运儿这对主仆的出现，更是增添了荒诞的色彩。
波卓的蛮横和幸运儿的痛苦形成了鲜明的对比，展现出了世界的荒谬和人性的扭曲。
从更深层次来看，《等待戈多》所揭示的是人类存在的荒诞性。
我们在这个世界上出生、成长、衰老、死亡，却常常不知道自己为何而来，又要去往何处。
我们努力追求着各种目标，却在达到目标后感到空虚和失落。
《等待戈多》(Waiting for Godot)500字观后感
《等待戈多》（Waiting for Godot）500字观后感《等待戈多》（Waiting for Godot）是爱尔兰剧作家塞缪尔·贝克特的代表作之一，被认为是现代戏剧的经典之一。
这部戏剧以其独特的风格和深刻的主题而著称，给观众留下了深刻的印象。
戏剧中的两个主要角色——弗拉基米尔（Vladimir）和埃斯特拉贡（Estragon）在荒凉的环境中等待着一个叫做戈多（Godot）的人物，但戈多一直没有出现。
整个剧情几乎没有发展，弗拉基米尔和埃斯特拉贡之间的对话主要围绕着无聊的琐事展开，看似毫无目的。
这种看似荒诞的情境和对话却引发了观众对生命、存在和意义的深刻思考。
戏剧中的等待成为观众关注的焦点。
弗拉基米尔和埃斯特拉贡对于等待戈多的期望似乎是他们生活的唯一目标，然而，戈多的到来一直是空等。
这种等待成为一种象征，代表了人类对于未知、虚无和生命意义的不断追寻。
贝克特通过这一主题反映了人类在无意义的世界中寻找存在的尝试，同时也暗示了等待和失望的循环。
语言是这部戏剧的另一个重要元素。
对话简洁而有力，充满了幽默和讽刺。
弗拉基米尔和埃斯特拉贡之间的对话交流通过荒谬的场景和无厘头的幽默，将观众引导至对生活、时间、存在和人际关系等深刻问题的反思。
贝克特通过这一独特的语言风格打破了传统戏剧的形式，使观众在深度的思考中感受到一种独特的戏剧体验。
剧中的另一个重要元素是两个主角之间微妙的关系。
弗拉基米尔和埃斯特拉贡的互动充满了亲密和依赖，他们彼此之间似乎是对方唯一的陪伴。
这使得观众对人际关系中的孤独、依赖和共生性质进行深入思考。
总的来说，《等待戈多》是一部引人深思的戏剧作品。
通过对无尽等待和对话中的荒谬情境的刻画，贝克特展示了人类在现代社会中对于存在和意义的挣扎。
这部戏剧虽然充满了谜团，但正是这种谜团使得观众在戏剧的空灵氛围中找到了对生命本质的深度思考。
论《等待戈多》中的循环与荒诞
论《等待戈多》中的循环与荒诞《等待戈多》是法国剧作家塞缪尔·贝克特的杰作之一，被认为是20世纪戏剧文学的经典之作。
这部戏剧以荒谬、循环和无望的主题为核心，通过两个主人公弗拉基米尔和埃斯特拉质疑人生的真实意义和存在的目的。
本文将针对《等待戈多》中循环和荒谬的两个主题展开讨论。
循环是《等待戈多》中最显著的特点之一。
整个剧本只有两个幕，场景几乎相同，故事情节几乎重复，这使得观众感到时间的停滞和漫长。
弗拉基米尔和埃斯特拉时而等待戈多，时而相互交流，时而卖弄口才，剧中的循环感仿佛陷入了一种永无止境的循环中。
循环的象征意义在于凸显了人生的无望和无意义。
弗拉基米尔和埃斯特拉等待戈多，希望他能够给他们答案，给他们指引，使他们的存在有意义。
戈多从未来过，他们一直在等待，却从未等到真正的解答。
这种循环的等待和无意义让观众意识到人生的虚无和荒诞。
荒谬是《等待戈多》的另一个重要主题。
整部戏剧充满了荒谬的情境和对话。
弗拉基米尔和埃斯特拉的对话总是围绕着毫无意义的话题展开，他们没有目标、没有目的地聊天，只是为了杀时间。
这些对话荒诞可笑，让人难以理解。
在剧中，还有一个角色是舞台上的男孩，他一会儿出现，一会儿消失，他所扮演的角色具有模糊性和不确定性。
他反复忘记与弗拉基米尔和埃斯特拉的约定，反复出现和消失，给剧中增添了更多的荒诞感和混乱感。
荒谬的情节和对话让观众感到困惑和迷茫，进一步体现了人生的虚无和荒诞。
《等待戈多》中的荒诞揭示了人类存在的深层问题，挑战着传统的道德和伦理观念，让人们思考人生的真正意义。
《等待戈多》通过循环和荒谬这两个主题来探讨人生的虚无和荒诞。
剧中的循环感和荒谬情境让观众面对人生的无意义和无望。
这部戏剧通过对话、情境和角色的设置，引发观众对存在的反思和思考。
正因为它所表达的人生的虚无和荒诞，使得《等待戈多》能够在戏剧舞台上持久地震撼着观众的内心。
荒诞派戏剧塞缪尔贝克特所著《等待戈多》经典赏析读书心得交流分享PPT模板
剧本赏析
《等待戈多》突破文学描述的固有模式，戏剧情节几乎没有发展变化，舞台场景同位 叠合，戏剧动作机械呆板，以此象征生活内容循环往复，却无异于什么也没有发生； 人物对话则悖逆追求妙言隽语的技巧规范，多用无聊的下意识独白和不知所云的废话 对白，以此喻示荒诞社会造成的人类思维及语言表达的极度混乱。
剧作《等待戈多》通过荒诞的人物、荒诞的情节、荒诞的语言、荒诞的舞台设计和荒 诞的戏剧效果，表现了荒诞派戏剧的一个基本主题：世界不可知，命运本无常，人是 低贱的，行为无意义。 在形式技巧上，《等待戈多》则充分体现了荒诞派戏剧场面单 调，既无冲突、更无高潮的“反戏剧’’特征，其艺术感染力主要来自于闹剧式的外包装 和对观众期待视野的突破。
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《等待戈多》（En attendant Godot），又译作《等待果陀》，是爱尔 兰现代主义剧作家塞缪尔·贝克特的两幕悲喜剧，1953年首演。
《等待戈多》表现的是一个“什么也没有发生，谁也没有来，谁也没有 去’’的悲剧。作品着重表现人的心态、心理活动过程以及人的心理活 动障碍。作品中的人物没有鲜明的性格，作品没有连贯的故事情节。 《等待戈多》是戏剧史上真正的革新，也是第一部演出成功的荒诞派 戏剧
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塞缪尔·贝克特，爱尔兰作家，出生 于爱尔兰都柏林，毕业于都柏林圣 三一大学，诺贝尔文学奖获得者， 是荒诞派戏剧的创始人之一。他创 作的领域包括戏剧、小说和诗歌， 尤 以 戏 剧 成 就 最 高 ， 1953 年 凭 借 《等待戈多》声震文坛，成为法国 文坛上的风云人物。
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有关《等待戈多》的解读
有关《等待戈多》的解读等待戈多剧情介绍内容梗概:五十年来，萨廖尔.贝克特的<等待戈多>一直是世界剧坛最匪夷所思、最神秘莫测的剧本。
即便是在戏剧观念最保守的地球村的某个角落，仍然有众多的戏剧家对这个潘朵拉匣子表示出浓厚的兴趣；他们多次尝试着打开这个匣子-用各种感性的、理性的、荒诞的、哲理的诠释来解构贝克特，但不苟言笑的贝克特却一如既往地保持他严峻的沉默，并把沉默带进了天堂。
也许这就是从艺人到大师的一步之遥。
这将是一次新的偿试，由张献、李容、和景国三个皮匠领军，向世界剧坛的节巨匠贝克特先生致敬-也是上海现代人剧社和真汉咖啡剧场联合完成对贝克特的祭奠。
我们承认贝克特自己已对戈多做最好的解释-他说："我们如果知道戈多是谁，那早就在剧本中写出来了。
"所以我们只有相信戈多是这个世界上的一切存在，或者戈多本身就是等待。
就象荒年中的埃及人把戈多看成是粮食，而美国圣昆延监狱的囚犯则痛斥戈多就是"社会"上海戏剧学院的陈加林教授把戈多想象成"四小天鹅"，而北京大导林兆华先生则由戈多联想到<三姐妹>--当然想象是无罪的，或者说"无知者无畏"；但令人遗憾的是迄今为止谁都不想把这戏排得更好看一些，而我们唯一想做的恰恰是要让这戏更好看。
所谓"2001.女性版"正是为这个群体社会度身定做的，为了迎合和取悦观众，在这出<等待戈多>里充斥着流行和时尚、"戏剧"和"思想"，然而我们的原意却是用流行反流行、用时尚反时尚、用戏剧反"戏剧"、用思想反"思想"。
我们相信，贝克特先生一定是个大好人，他创作了<等待戈多>正是为了给世界众多的话剧艺人一个吃饭的机会，所以在世界舞台上才会有形形色色的<等待戈多>。
论《等待戈多》中的循环与荒诞
论《等待戈多》中的循环与荒诞《等待戈多》是法国剧作家塞缪尔·贝克特创作的一部戏剧作品，于1953年首次上演。
这部作品以其独特的荒诞和循环性质而闻名，深刻地揭示了人类生活的荒谬和无望。
本文将探讨《等待戈多》中的循环与荒诞，从不同角度分析这部作品的深层意义。
我们来看看《等待戈多》这部戏剧作品的循环特性。
整部戏剧由两个角色弗拉基米尔和埃斯特拉贝组成，他们在一个空无一物的舞台上等待着一个名叫戈多的人的到来。
这种等待不仅是戏剧的主题，也在观众的审美经验中起到了循环的作用。
两个角色会重复一些对话和行为，如弗拉基米尔询问埃斯特拉贝“你来了？”而她回答“是的，你？”这种循环的对话加深了观众对角色之间的无聊和无望的理解，使观众感到时间的流逝是毫无意义的。
戏剧的整体结构也是一种循环，没有明确的开始和结束，而是在角色的等待中一再重复。
这种循环不仅让观众感受到了时间的无聊和漫长，也表达了作品的主题——生活的无望和荒谬。
荒诞是《等待戈多》中另一个重要的主题。
整部戏剧充斥着荒谬的对话和行为。
两个角色的无意义对话、奇怪的行动、以及对梦想、记忆的痴迷，都展现了作者对人类生活的深刻理解。
观众在观看这些对话和行为时，不禁感到荒诞和荒谬，这种感觉反映了人类生活中充满了无聊和无望。
作者通过观众对角色的体验，展现了生活的无望和荒诞，这种荒诞的体验使观众深刻地理解了作品的主题，也引发了对生活的反思。
作品中的人物形象也体现了荒谬和无望。
弗拉基米尔和埃斯特拉贝这两个角色无休无止地等待着戈多的到来，他们的存在似乎就是为了等待，没有其他的目的和意义。
他们的行为和对话也体现了生活的无聊和无望。
戈多这个名字本身也具有一种荒谬的意味，因为这个人物永远也不会到来，他成了一个虚幻的存在，也成为了观众对无望和无聊的象征。
整个戏剧的人物形象都展现了作者对生活的深刻理解，让观众在观看中感到荒谬和无望，引发对生活的思考和反思。
等待戈多
• 斯拉冈算不得很喜欢，“嗯？咱们走不走？” 斯拉冈算不得很喜欢， 咱们走不走？ 当然，他们都站着不动。 当然，他们都站着不动。 波卓，体格比他们俩都大了一号， 波卓，体格比他们俩都大了一号，赶路时穿斗 篷式风衣，面部轮廓柔和， 篷式风衣，面部轮廓柔和，神情在暴戾和乍然 开颜之间极为自然爽朗地转换， 开颜之间极为自然爽朗地转换，声音哄亮底气 足。他是一类已经品尝到对其他生命有着特殊 权力意志的人。他享用着，他也遗忘， 权力意志的人。他享用着，他也遗忘，他表达 遗忘时流露的是更大的愤怒， 遗忘时流露的是更大的愤怒，时间让人刻骨仇 恨啊，暴君的内心难以清平，因为， 恨啊，暴君的内心难以清平，因为，唯有时间 给予他压迫让他痛苦。 给予他压迫让他痛苦。他似乎也多少感觉到孤 他对路边傻等的哼哈二将说， 独，他对路边傻等的哼哈二将说，“我没法拒 绝你们，不过请你们用点心好好听着。 绝你们，不过请你们用点心好好听着。”他的 生命是贪恋、依附、折磨他的奴隶―――幸运 生命是贪恋、依附、折磨他的奴隶 幸运 以至于弗拉季米尔气得结结巴巴， 儿。以至于弗拉季米尔气得结结巴巴，说“真 可耻！”爱特斯拉冈说，“真丢脸！”他说自 可耻！ 爱特斯拉冈说， 真丢脸！ 己视力很好，可他并不确信那一对是朋友， 己视力很好，可他并不确信那一对是朋友，他 说
戈戈做了一个恶梦，但狄狄不让他说。 戈戈做了一个恶梦，但狄狄不让他说。他们想 要离去，然而不能。干吗不能?等待戈多 等待戈多。 要离去，然而不能。干吗不能 等待戈多。正 当他们精神迷乱之际，波卓主仆再次出场。波 当他们精神迷乱之际，波卓主仆再次出场。 卓已成瞎子，幸运儿已经气息奄奄。 卓已成瞎子，幸运儿已经气息奄奄。以为是 戈多”莅临， “戈多”莅临，然而波卓主仆做了一番令人目 瞪口呆的表演之后，旋即退场。不久， 瞪口呆的表演之后，旋即退场。不久，一个男 孩上场报告说，戈多今晚不来了，明晚准来。 孩上场报告说，戈多今晚不来了，明晚准来。 第二幕。次日，在同一时间， 第二幕。次日，在同一时间，两个老流浪汉又 来到老地方等待戈多。 来到老地方等待戈多。他们模模糊糊地回忆着 昨天发生的事情，突然， 昨天发生的事情，突然，一种莫名的恐惧感向 他们袭来，于是没话找话、同时说话， 他们袭来，于是没话找话、同时说话，因为这 样就“可以不思想” 可以不听” 样就“可以不思想”、“可以不听”。等不来 戈戈多的信使小男孩再次出场， 戈戈多的信使小男孩再次出场，说戈多今晚不 来了，明晚会来。 来了，明晚会来。两位老流浪汉玩了一通上吊 的把戏后，决定离去，明天再来。 的把戏后，决定离去，明天再来。
《等待戈多》的“等待”
《等待戈多》的“等待”一、本文概述《等待戈多》是塞缪尔·贝克特的经典荒诞派戏剧，自其1953年首次在巴黎舞台上亮相以来，便在全球范围内引发了广泛的讨论和深远的影响。
该剧以其独特的叙事结构、荒诞的情节设置和深刻的主题思考，成为了现代戏剧史上的一部重要作品。
本文将深入探讨《等待戈多》中的“等待”这一主题，分析其所蕴含的哲学思考、人性探索以及社会批判。
通过剖析剧中人物的等待行为及其背后的心理动机，本文将揭示“等待”这一日常行为在贝克特的笔下如何被赋予了深刻的象征意义，并进而探讨这一象征意义如何与我们的生活经验和社会现实产生联系。
通过这一研究，我们不仅可以更深入地理解贝克特的艺术创作理念，也能对我们自身的生存状态进行反思和启示。
二、《等待戈多》的主要情节与人物《等待戈多》是一部荒诞派戏剧的经典之作，其主要情节和人物设定充满了超现实和抽象的元素。
剧情围绕两个流浪汉爱斯特拉冈（Estragon）和弗拉基米尔（Vladimir）在黄昏的乡间小路上等待一个名为戈多（Godot）的人展开。
然而，戈多是谁，为何等待他，以及等待的结果如何，剧作中并没有给出明确的答案。
这种模糊和不确定的情节设计，使得《等待戈多》的“等待”成为了一个深具哲学意味的命题。
爱斯特拉冈和弗拉基米尔是剧作中的主要人物。
他们是两个身份不明、来历不清的流浪汉，以无聊的对白和荒诞的行为贯穿全剧。
他们的等待行为充满了无意义和重复性，不断地上演着各种无聊的动作和对话，如脱靴子、挂树上、自相矛盾地讨论等待的意义等。
这种荒诞的行为和对话，反映了人类在面对无意义和空虚时的困境和挣扎。
除了爱斯特拉冈和弗拉基米尔之外，剧中还出现了一些次要人物，如波卓（Pozzo）和他的奴隶幸运儿（Lucky）。
波卓是一个自大而又残忍的主人，而幸运儿则是一个沉默寡言、被波卓虐待的奴隶。
他们的出现，进一步加深了剧作的荒诞和讽刺意味。
波卓和幸运儿的关系，也暗示了人类社会中存在的阶级压迫和不公。
《等待戈多》(Waiting for Godot)1000字观后感
《等待戈多》（Waiting for Godot）1000字观后感《等待戈多》是塞缪尔·贝克特的代表作之一，被誉为现代戏剧的经典之一。
这部戏剧以其独特的结构、深沉的主题和荒谬的对话而著称，给观众留下了深刻的思考和印象。
剧中的主题主要围绕等待展开。
两位主角弗拉基米尔和埃斯特拉贡在一片荒凉的地方等待着一个名叫戈多的人，然而，戈多始终没有出现。
等待成为戏剧的核心，但戏剧情节的极简和单一性使得观众陷入了一种深沉的思考。
等待在剧中被描绘得如此重复、漫长和虚无，观众难免思考这等待的意义和生命的本质。
戈多的缺席成为观众关注的焦点。
弗拉基米尔和埃斯特拉贡对于戈多的期待和他未能出现的失望成为戏剧的主要情节。
这种等待与失望的循环使观众思考，人们是否注定要在生活中等待一些无法实现的东西，以及这等待是否构成了人生的一部分。
戏剧中的对话是贝克特作品的独特之处。
对话充满了荒谬、反讽和幽默，却又深含着对人生困境和存在的深刻思考。
弗拉基米尔和埃斯特拉贡之间的对话如同生活中的废话一般，却又暗示着无奈和迷茫。
这种语言的独特性使观众在戏剧中感受到一种既搞笑又深刻的氛围，引导着观众深入思考人生的意义和困境。
剧中的两个主角弗拉基米尔和埃斯特拉贡之间的关系也是观众关注的焦点。
他们之间的互动充满了亲密、依赖和深刻的默契。
这使得观众不仅仅看到了等待戈多这一主线，也看到了两个人在这漫长的等待中对彼此的情感和支持。
这种关系在人际关系的无常和孤独中产生了一种共鸣。
最后，戏剧的结尾再次强调了等待的主题。
弗拉基米尔和埃斯特拉贡决定离开，却又留恋地留在原地，表示他们仍然在等待。
这一矛盾的结局使观众陷入更深的思考，等待是否永远都是人生的一部分，而对于等待是否能带来真正的改变和满足的问题则成为人们思考的焦点。
总体而言，《等待戈多》是一部充满思考的戏剧作品。
贝克特通过对等待、失望、生命本质和人际关系的描绘，呈现了一个荒谬而深刻的生命画卷。
观众在戏剧中所面对的虚无、循环和困境，引导着人们对于生命的真谛进行深刻的思考。
解读荒诞戏剧《等待戈多》
在无望中坚守希望------解读贝克特的《等待戈多》爱尔兰著名剧作家塞缪尔·贝克特的戏剧《等待戈多》是荒诞派戏剧中最有代表性的一部力作，也是20世纪西方戏剧所取得的重要成果。
它的问世奠定了贝克特的文学地位，也确立了荒诞派戏剧作为一个文学流派的意义。
《等待戈多》以荒诞的形式向人们昭示了一个真理：人只要活着，就有一种不可磨灭的需求，那就是对希望的渴求和等待。
《等待戈多》是一出表现人类永恒的在无望中寻找希望的现代悲剧,而这一悲剧特质是以荒诞不经的情节展示出来的：乡间一条路，一棵枯树，黄昏，两个流浪汉爱斯特拉冈和弗拉季米尔在枯树下等待戈多，他们既不知道戈多是谁，也不知道戈多会不会来。
第二天他们又来等待，依然是原来的路边，依然是黄昏时分，戈多依然没来。
不同的是树上长出了几片叶子。
两个流浪汉从过去未知的某一天等待，他们还将等到未来未知的某一天。
显然，不管戈多是否存在，他们都将继续等待下去，等待便是他们的希望。
那么，戈多究竟是谁呢？有人说，戈多（Godort）就是上帝（God），《等待戈多》(En Attendant Godot)这个法文剧名看来是暗指西蒙娜·韦尔的《等待上帝》(Attent de Dieu)一书；有人说，戈多象征“死亡”；有人说，剧中人波卓就是戈多；有人说，戈多是巴尔扎克剧作《自命不凡的人》里一个在剧中从不出现的人物“戈杜”(Godeau)，有人甚至说，戈多就是一位著名的摩托车运动员……于是有人问作者，贝克特两手一摊，苦笑一声：“我要是知道，早在戏里说出来了。
”无论贝克特是在故弄玄虚，还是他真不知道，这一回答正好道出了该剧的真实含义，即人对生存在其中的世界，对自己的命运一无所知。
无论戈多将会是谁，从作品中可以明显看出，他的到来，将会给剧中人带来希望，戈多是不幸的人对于未来生活的呼唤和向往。
是当今社会人们对明天某种指望的代表，象征着“希望”“、憧憬”。
是人们在痛苦和失望中的曙光。
《等待戈多》的戏剧实验
《等待戈多》的戏剧实验《＜等待戈多>的戏剧实验》《等待戈多》是塞缪尔·贝克特创作的荒诞派戏剧经典之作。
这部作品以其独特的艺术风格和深刻的内涵，成为了戏剧史上的一次大胆实验。
故事的情节极为简单，甚至可以说是近乎于没有情节。
两个身份不明的流浪汉戈戈和狄狄，在黄昏的荒野路旁等待着一个名叫戈多的人。
他们不知道戈多是谁，也不知道他为什么要来，更不知道他什么时候会来。
在漫长的等待过程中，他们百无聊赖，做着一些毫无意义的动作，进行着语无伦次的对话。
整个场景单调、沉闷，时间仿佛凝固。
这种看似毫无头绪的剧情设置，正是贝克特对传统戏剧的一种颠覆。
传统戏剧往往有着明确的起承转合、冲突与解决，以吸引观众的注意力并推动故事的发展。
然而，《等待戈多》摒弃了这一模式，它没有传统意义上的故事线，没有清晰的目标和结局。
这种打破常规的做法，让观众在最初接触时感到困惑和迷茫，但也正是这种困惑，促使观众去思考戏剧背后所蕴含的更深层次的意义。
剧中的人物形象也具有强烈的实验性。
戈戈和狄狄是两个被社会边缘化的人物，他们衣衫褴褛、精神空虚，失去了生活的方向和目标。
他们的对话充满了重复、矛盾和荒诞，反映出他们内心的焦虑和无助。
这种对人物形象的刻画，并非是为了塑造具体的个体，而是象征着现代社会中人们普遍存在的精神困境。
人们在忙碌的生活中，常常感到迷茫和孤独，不知道自己真正追求的是什么，如同在等待一个永远不会到来的戈多。
在语言运用方面，《等待戈多》同样充满了创新。
剧中的台词常常是支离破碎、前言不搭后语的。
语言不再是用于清晰地表达思想和传递信息的工具，而是成为了一种无序、混乱的表达。
这种语言的破碎和混乱，恰恰反映了现代社会中人们思维和交流的困境。
人们在快节奏的生活中，语言变得越来越肤浅和表面，难以真正深入地表达内心的感受和想法。
舞台布景在这部剧中也发挥了重要作用。
荒野路旁的空旷场景，只有一棵枯树，营造出一种荒凉、绝望的氛围。
没有华丽的装饰和复杂的布景，一切都显得那么简单和质朴。
waiting for godot 等待戈多
A country road. A tree.Evening.Estragon, sitting on a low mound, is trying to take off his boot. Hepulls at it with both hands, panting. #Image from He gives up, exhausted, rests, tries again.As before.Enter Vladimir.ESTRAGON:(giving up again). Nothing to be done.VLADIMIR:(advancing with short, stiff strides, legs wide apart). I'm beginningto come round to that opinion. All my life I've tried to put it from me, saying Vladimir, be reasonable, you haven't yet tried everything. And I resumed the struggle. (He broods, musing on the struggle. Turning to Estragon.) So there you are again.ESTRAGON:Am I?VLADIMIR:I'm glad to see you back. I thought you were gone forever.ESTRAGON:Me too.VLADIMIR:Together again at last! We'll have to celebrate this. But how? (He reflects.) Get up till I embrace you.ESTRAGON:(irritably). Not now, not now.VLADIMIR:(hurt, coldly). May one inquire where His Highness spent the night? ESTRAGON:In a ditch.VLADIMIR:(admiringly). A ditch! Where?ESTRAGON:(without gesture). Over there.VLADIMIR:And they didn't beat you?ESTRAGON:Beat me? Certainly they beat me.VLADIMIR:The same lot as usual?ESTRAGON:The same? I don't know.VLADIMIR:When I think of it . . . all these years . . . but for me . . . where would you be . . . (Decisively.) You'd be nothing more than a littleheap of bones at the present minute, no doubt about it.And what of it?VLADIMIR:(gloomily). It's too much for one man. (Pause. Cheerfully.) On theother hand what's the good of losing heart now, that's what I say. We should have thought of it a million years ago, in the nineties. ESTRAGON:Ah stop blathering and help me off with this bloody thing.VLADIMIR:Hand in hand from the top of the Eiffel Tower, among the first. We were respectable in those days. Now it's too late. They wouldn't even let us up. (Estragon tears at his boot.) What are you doing?ESTRAGON:Taking off my boot. Did that never happen to you?VLADIMIR:Boots must be taken off every day, I'm tired telling you that. Whydon't you listen to me?ESTRAGON:(feebly). Help me!VLADIMIR:It hurts?ESTRAGON:(angrily). Hurts! He wants to know if it hurts!VLADIMIR:(angrily). No one ever suffers but you. I don't count. I'd like to hear what you'd say if you had what I have.ESTRAGON:It hurts?VLADIMIR:(angrily). Hurts! He wants to know if it hurts!ESTRAGON:(pointing). You might button it all the same.VLADIMIR:(stooping). True. (He buttons his fly.) Never neglect the little things of life.ESTRAGON:What do you expect, you always wait till the last moment.VLADIMIR:(musingly). The last moment . . . (He meditates.) Hope deferred maketh the something sick, who said that?ESTRAGON:Why don't you help me?VLADIMIR:Sometimes I feel it coming all the same. Then I go all queer. (He takes off his hat, peers inside it, feels about inside it, shakes it, puts it on again.) How shall I say? Relieved and at the same time . . . (he searches for the word) . . . appalled. (With emphasis.) AP-PALLED. (He takes off his hat again, peers inside it.) Funny. (He knocks on the crown as though to dislodge a foreign body, peers into it again, putsit on again.) Nothing to be done. (Estragon with a supreme effort succeeds in pulling off his boot. He peers inside it, feels aboutinside it, turns it upside down, shakes it, looks on the ground to see if anything has fallen out, finds nothing, feels inside it again,staring sightlessly before him.) Well?ESTRAGON:Nothing.VLADIMIR:ESTRAGON:There's nothing to show.VLADIMIR:Try and put it on again.ESTRAGON:(examining his foot). I'll air it for a bit.VLADIMIR:There's man all over for you, blaming on his boots the faults of his feet. (He takes off his hat again, peers inside it, feels about inside it, knocks on the crown, blows into it, puts it on again.) This is getting alarming. (Silence. Vladimir deep in thought, Estragon pulling at his toes.) One of the thieves was saved. (Pause.) It's a reasonable percentage. (Pause.) Gogo.ESTRAGON:What?VLADIMIR:Suppose we repented.ESTRAGON:Repented what?VLADIMIR:Oh . . . (He reflects.) We wouldn't have to go into the details. ESTRAGON:Our being born?Vladimir breaks into a hearty laugh which he immediately stifles, his hand pressed to his pubis, his face contorted.VLADIMIR:One daren't even laugh any more.ESTRAGON:Dreadful privation.VLADIMIR:Merely smile. (He smiles suddenly from ear to ear, keeps smiling, ceases as suddenly.) It's not the same thing. Nothing to be done. (Pause.) Gogo.ESTRAGON:(irritably). What is it?VLADIMIR:Did you ever read the Bible?ESTRAGON:The Bible . . . (He reflects.) I must have taken a look at it. VLADIMIR:Do you remember the Gospels?ESTRAGON:I remember the maps of the Holy Land. Coloured they were. Very pretty. The Dead Sea was pale blue. The very look of it made me thirsty. That's where we'll go, I used to say, that's where we'll go for our honeymoon. We'll swim. We'll be happy.VLADIMIR:You should have been a poet.ESTRAGON:I was. (Gesture towards his rags.) Isn't that obvious?Silence.VLADIMIR:Where was I . . . How's your foot?ESTRAGON:Swelling visibly.VLADIMIR:Ah yes, the two thieves. Do you remember the story?ESTRAGON:No.VLADIMIR:Shall I tell it to you?ESTRAGON:No.VLADIMIR:It'll pass the time. (Pause.) Two thieves, crucified at the same time as our Saviour. One—ESTRAGON:Our what?VLADIMIR:Our Saviour. Two thieves. One is supposed to have been saved and the other . . . (he searches for the contrary of saved) . . . damned. ESTRAGON:Saved from what?VLADIMIR:Hell.ESTRAGON:I'm going.He does not move.VLADIMIR:And yet . . . (pause) . . . how is it –this is not boring you I hope–how is it that of the four Evangelists only one speaks of a thief being saved. The four of them were there –or thereabouts– and only one speaks of a thief being saved. (Pause.) Come on, Gogo, return the ball, can't you, once in a way?ESTRAGON:(with exaggerated enthusiasm). I find this really most extraordinarily interesting.VLADIMIR:One out of four. Of the other three, two don't mention any thieves at all and the third says that both of them abused him.ESTRAGON:Who?VLADIMIR:What?ESTRAGON:What's all this about? Abused who?VLADIMIR:The Saviour.ESTRAGON:Why?VLADIMIR:Because he wouldn't save them.ESTRAGON:From hell?VLADIMIR:Imbecile! From death.ESTRAGON:I thought you said hell.VLADIMIR:From death, from death.ESTRAGON:Well what of it?VLADIMIR:Then the two of them must have been damned.ESTRAGON:And why not?VLADIMIR:But one of the four says that one of the two was saved.ESTRAGON:Well? They don't agree and that's all there is to it.VLADIMIR:But all four were there. And only one speaks of a thief being saved. Why believe him rather than the others?ESTRAGON:Who believes him?VLADIMIR:Everybody. It's the only version they know.ESTRAGON:People are bloody ignorant apes.He rises painfully, goes limping to extreme left, halts, gazes into distance off with his hand screening his eyes, turns, goes to extreme right, gazes into distance. Vladimir watches him, then goes and picks up the boot, peers into it, drops it hastily.VLADIMIR:Pah!He spits. Estragon moves to center, halts with his back to auditorium. ESTRAGON:Charming spot. (He turns, advances to front, halts facing auditorium.) Inspiring prospects. (He turns to Vladimir.) Let's go.VLADIMIR:We can't.ESTRAGON:Why not?VLADIMIR:We're waiting for Godot.ESTRAGON:(despairingly). Ah! (Pause.) You're sure it was here?VLADIMIR:What?ESTRAGON:That we were to wait.VLADIMIR:He said by the tree. (They look at the tree.) Do you see any others? ESTRAGON:What is it?VLADIMIR:I don't know. A willow.ESTRAGON:Where are the leaves?VLADIMIR:It must be dead.ESTRAGON:No more weeping.VLADIMIR:Or perhaps it's not the season.ESTRAGON:Looks to me more like a bush.A shrub.ESTRAGON:A bush.VLADIMIR:A—. What are you insinuating? That we've come to the wrong place? ESTRAGON:He should be here.VLADIMIR:He didn't say for sure he'd come.ESTRAGON:And if he doesn't come?VLADIMIR:We'll come back tomorrow.ESTRAGON:And then the day after tomorrow.VLADIMIR:Possibly.ESTRAGON:And so on.VLADIMIR:The point is—ESTRAGON:Until he comes.VLADIMIR:You're merciless.ESTRAGON:We came here yesterday.VLADIMIR:Ah no, there you're mistaken.ESTRAGON:What did we do yesterday?VLADIMIR:What did we do yesterday?ESTRAGON:Yes.VLADIMIR:Why . . . (Angrily.) Nothing is certain when you're about. ESTRAGON:In my opinion we were here.VLADIMIR:(looking round). You recognize the place?ESTRAGON:I didn't say that.VLADIMIR:Well?ESTRAGON:That makes no difference.VLADIMIR:All the same . . . that tree . . . (turning towards auditorium) that bog . . .ESTRAGON:You're sure it was this evening?VLADIMIR:What?ESTRAGON:That we were to wait.He said Saturday. (Pause.) I think.ESTRAGON:You think.VLADIMIR:I must have made a note of it. (He fumbles in his pockets, burstingwith miscellaneous rubbish.)ESTRAGON:(very insidious). But what Saturday? And is it Saturday? Is it notrather Sunday? (Pause.) Or Monday? (Pause.) Or Friday?VLADIMIR:(looking wildly about him, as though the date was inscribed in the landscape). It's not possible!ESTRAGON:Or Thursday?VLADIMIR:What'll we do?ESTRAGON:If he came yesterday and we weren't here you may be sure he won't come again today.VLADIMIR:But you say we were here yesterday.ESTRAGON:I may be mistaken. (Pause.) Let's stop talking for a minute, do youmind?VLADIMIR:(feebly). All right. (Estragon sits down on the mound. Vladimir paces agitatedly to and fro, halting from time to time to gaze into distance off. Estragon falls asleep. Vladimir halts finally before Estragon.)Gogo! . . . Gogo! . . . GOGO!Estragon wakes with a start.ESTRAGON:(restored to the horror of his situation). I was asleep! (Despairingly.) Why will you never let me sleep?VLADIMIR:I felt lonely.ESTRAGON:I had a dream.VLADIMIR:Don't tell me!ESTRAGON:I dreamt that—VLADIMIR:DON'T TELL ME!ESTRAGON:(gesture toward the universe). This one is enough for you? (Silence.)It's not nice of you, Didi. Who am I to tell my private nightmares toif I can't tell them to you?VLADIMIR:Let them remain private. You know I can't bear that.ESTRAGON:(coldly.) There are times when I wonder if it wouldn't be better for usto part.VLADIMIR:You wouldn't go far.ESTRAGON:That would be too bad, really too bad. (Pause.) Wouldn't it, Didi, be really too bad? (Pause.) When you think of the beauty of the way. (Pause.) And the goodness of the wayfarers. (Pause. Wheedling.)Wouldn't it, Didi?VLADIMIR:Calm yourself.ESTRAGON:(voluptuously.) Calm . . . calm . . . The English say cawm. (Pause.)You know the story of the Englishman in the brothel?VLADIMIR:Yes.ESTRAGON:Tell it to me.VLADIMIR:Ah stop it!ESTRAGON:An Englishman having drunk a little more than usual proceeds to abrothel. The bawd asks him if he wants a fair one, a dark one or a red-haired one. Go on.VLADIMIR:STOP IT!Exit Vladimir hurriedly. Estragon gets up and follows him as far as the limit of the stage. Gestures of Estragon like those of a spectator encouraging a pugilist. Enter Vladimir. He brushes past Estragon,crosses the stage with bowed head. Estragon takes a step towards him, halts.ESTRAGON:(gently.) You wanted to speak to me? (Silence. Estragon takes a step forward.) You had something to say to me? (Silence. Another step forward.) Didi . . .VLADIMIR:(without turning). I've nothing to say to you.ESTRAGON:(step forward). You're angry? (Silence. Step forward). Forgive me. (Silence. Step forward. Estragon lays his hand on Vladimir's shoulder.) Come, Didi. (Silence.) Give me your hand. (Vladimir half turns.)Embrace me! (Vladimir stiffens.) Don't be stubborn! (Vladimir softens. They embrace. #Estragon recoils.) You stink of garlic!VLADIMIR:It's for the kidneys. (Silence. Estragon looks attentively at the tree.) What do we do now?ESTRAGON:Wait.VLADIMIR:Yes, but while waiting.ESTRAGON:What about hanging ourselves?VLADIMIR:Hmm. It'd give us an erection.ESTRAGON:(highly excited). An erection!VLADIMIR:With all that follows. Where it falls mandrakes grow. That's why they shriek when you pull them up. Did you not know that?ESTRAGON:Let's hang ourselves immediately!VLADIMIR:From a bough? (They go towards the tree.) I wouldn't trust it. ESTRAGON:We can always try.VLADIMIR:Go ahead.ESTRAGON:After you.VLADIMIR:No no, you first.ESTRAGON:Why me?VLADIMIR:You're lighter than I am.ESTRAGON:Just so!VLADIMIR:I don't understand.ESTRAGON:Use your intelligence, can't you?Vladimir uses his intelligence.VLADIMIR:(finally). I remain in the dark.ESTRAGON:This is how it is. (He reflects.) The bough . . . the bough . . . (Angrily.) Use your head, can't you?VLADIMIR:You're my only hope.ESTRAGON:(with effort). Gogo light—bough not break—Gogo dead. Didi heavy—bough break—Didi alone. Whereas—VLADIMIR:I hadn't thought of that.ESTRAGON:If it hangs you it'll hang anything.VLADIMIR:But am I heavier than you?ESTRAGON:So you tell me. I don't know. There's an even chance. Or nearly. VLADIMIR:Well? What do we do?ESTRAGON:Don't let's do anything. It's safer.VLADIMIR:Let's wait and see what he says.ESTRAGON:Who?VLADIMIR:Godot.ESTRAGON:Good idea.VLADIMIR:Let's wait till we know exactly how we stand.ESTRAGON:On the other hand it might be better to strike the iron before it freezes.VLADIMIR:I'm curious to hear what he has to offer. Then we'll take it or leave it.ESTRAGON:What exactly did we ask him for?VLADIMIR:Were you not there?ESTRAGON:I can't have been listening.VLADIMIR:Oh . . . Nothing very definite.ESTRAGON:A kind of prayer.VLADIMIR:Precisely.ESTRAGON:A vague supplication.VLADIMIR:Exactly.ESTRAGON:And what did he reply?VLADIMIR:That he'd see.ESTRAGON:That he couldn't promise anything.VLADIMIR:That he'd have to think it over.ESTRAGON:In the quiet of his home.VLADIMIR:Consult his family.ESTRAGON:His friends.VLADIMIR:His agents.ESTRAGON:His correspondents.VLADIMIR:His books.ESTRAGON:His bank account.VLADIMIR:Before taking a decision.ESTRAGON:It's the normal thing.VLADIMIR:Is it not?ESTRAGON:I think it is.VLADIMIR:I think so too.Silence.ESTRAGON:(anxious). And we?VLADIMIR:I beg your pardon?ESTRAGON:I said, And we?VLADIMIR:I don't understand.ESTRAGON:Where do we come in?VLADIMIR:Come in?ESTRAGON:Take your time.VLADIMIR:Come in? On our hands and knees.ESTRAGON:As bad as that?VLADIMIR:Your Worship wishes to assert his prerogatives?ESTRAGON:We've no rights any more?Laugh of Vladimir, stifled as before, less the smile.VLADIMIR:You'd make me laugh if it wasn't prohibited.ESTRAGON:We've lost our rights?VLADIMIR:(distinctly). We got rid of them.Silence. They remain motionless, arms dangling, heads sunk, sagging at the knees.ESTRAGON:(feebly). We're not tied? (Pause.) We're not—VLADIMIR:Listen!They listen, grotesquely rigid. #ESTRAGON:I hear nothing.VLADIMIR:Hsst! (They listen. Estragon loses his balance, almost falls. He clutches the arm of Vladimir, who totters. They listen, huddled together.) Nor I.Sighs of relief. They relax and separate.ESTRAGON:You gave me a fright.VLADIMIR:I thought it was he.ESTRAGON:Who?VLADIMIR:Godot.ESTRAGON:Pah! The wind in the reeds.VLADIMIR:I could have sworn I heard shouts.ESTRAGON:And why would he shout?VLADIMIR:At his horse.Silence.ESTRAGON:(violently). I'm hungry!VLADIMIR:Do you want a carrot?ESTRAGON:Is that all there is?VLADIMIR:I might have some turnips.ESTRAGON:Give me a carrot. (Vladimir rummages in his pockets, takes out a turnip and gives it to Estragon who takes a bite out of it. Angrily.) It's a turnip!VLADIMIR:Oh pardon! I could have sworn it was a carrot. (He rummages again inhis pockets, finds nothing but turnips.) All that's turnips. (He rummages.) You must have eaten the last. (He rummages.) Wait, I have it. (He brings out a carrot and gives it to Estragon.) There, dear fellow.#(Estragon wipes the carrot on his sleeve and begins to eat it.) Make it last, that's the end of them.ESTRAGON:(chewing). I asked you a question.VLADIMIR:Ah.ESTRAGON:Did you reply?VLADIMIR:How's the carrot?ESTRAGON:It's a carrot.VLADIMIR:So much the better, so much the better. (Pause.) What was it you wantedto know?ESTRAGON:I've forgotten. (Chews.) That's what annoys me. (He looks at the carrot appreciatively, dangles it between finger and thumb.) I'll never forget this carrot. (He sucks the end of it meditatively.) Ah yes, now I remember.VLADIMIR:Well?ESTRAGON:(his mouth full, vacuously). We're not tied?VLADIMIR:I don't hear a word you're saying.ESTRAGON:(chews, swallows). I'm asking you if we're tied.VLADIMIR:Tied?ESTRAGON:Ti-ed.VLADIMIR:How do you mean tied?ESTRAGON:Down.VLADIMIR:But to whom? By whom?ESTRAGON:To your man.VLADIMIR:To Godot? Tied to Godot! What an idea! No question of it. (Pause.) Forthe moment.ESTRAGON:His name is Godot?VLADIMIR:I think so.ESTRAGON:Fancy that. (He raises what remains of the carrot by the stub of leaf, twirls it before his eyes.) Funny, the more you eat the worse it gets. VLADIMIR:With me it's just the opposite.ESTRAGON:In other words?VLADIMIR:I get used to the muck as I go along.ESTRAGON:(after prolonged reflection). Is that the opposite?VLADIMIR:Question of temperament.ESTRAGON:Of character.VLADIMIR:Nothing you can do about it.ESTRAGON:No use struggling.VLADIMIR:One is what one is.ESTRAGON:No use wriggling.VLADIMIR:The essential doesn't change.ESTRAGON:Nothing to be done. (He proffers the remains of the carrot to Vladimir.) Like to finish it?A terrible cry, close at hand. Estragon drops the carrot. They remain motionless, then together make a sudden rush towards the wings.Estragon stops halfway, runs back, picks up the carrot, stuffs it inhis pocket, runs to rejoin Vladimir who is waiting for him, stops again, runs back, picks up his boot, runs to rejoin Vladimir. Huddled together, shoulders hunched, cringing away from the menace, they wait. #Enter Pozzo and Lucky. Pozzo drives Lucky by means of a rope passedround his neck, so that Lucky is the first to enter, followed by therope which is long enough to let him reach the middle of the stagebefore Pozzo appears. Lucky carries a heavy bag, a folding stool, apicnic basket and a greatcoat, Pozzo a whip.POZZO:(off). On! (Crack of whip. Pozzo appears. They cross the stage. Lucky passes before Vladimir and Estragon and exit. Pozzo at the sight of Vladimir and Estragon stops short. The rope tautens. Pozzo jerks at it violently.) Back!Noise of Lucky falling with all his baggage. Vladimir and Estragon turn towards him, half wishing half fearing to go to his assistance.Vladimir takes a step towards Lucky, Estragon holds him back by the sleeve.VLADIMIR:Let me go!ESTRAGON:Stay where you are!POZZO:Be careful! He's wicked. (Vladimir and Estragon turn towards Pozzo.)With strangers.ESTRAGON:(undertone). Is that him?VLADIMIR:Who?ESTRAGON:(trying to remember the name). Er . . .VLADIMIR:Godot?ESTRAGON:Yes.POZZO:I present myself: Pozzo.VLADIMIR:(to Estragon). Not at all!ESTRAGON:He said Godot.VLADIMIR:Not at all!ESTRAGON:(timidly, to Pozzo). You're not Mr. Godot, Sir?POZZO:(terrifying voice). I am Pozzo! (Silence.) Pozzo! (Silence.) Does that name mean nothing to you? (Silence.) I say does that name mean nothingto you?Vladimir and Estragon look at each other questioningly.ESTRAGON:(pretending to search). Bozzo . . . Bozzo . . .VLADIMIR:(ditto). Pozzo . . . Pozzo . . .POZZO:PPPOZZZO!ESTRAGON:Ah! Pozzo . . . let me see . . . Pozzo . . .VLADIMIR:Is it Pozzo or Bozzo?ESTRAGON:Pozzo . . . no . . . I'm afraid I . . . no . . . I don't seem to . . . Pozzo advances threateningly.VLADIMIR:(conciliating). I once knew a family called Gozzo. The mother had the clap.ESTRAGON:(hastily). We're not from these parts, Sir.POZZO:(halting). You are human beings none the less. (He puts on his glasses.) As far as one can see. (He takes off his glasses.) Of the same speciesas myself. (He bursts into an enormous laugh.) Of the same species as Pozzo! Made in God's image!VLADIMIR:Well you see—POZZO:(peremptory). Who is Godot?ESTRAGON:Godot?POZZO:You took me for Godot.VLADIMIR:Oh no, Sir, not for an instant, Sir.POZZO:Who is he?VLADIMIR:Oh he's a . . . he's a kind of acquaintance.ESTRAGON:Nothing of the kind, we hardly know him.VLADIMIR:True . . . we don't know him very well . . . but all the same . . . ESTRAGON:Personally, I wouldn't even know him if I saw him.POZZO:You took me for him.ESTRAGON:(recoiling before Pozzo). That's to say . . . you understand . . . the dusk . . . the strain . . . waiting . . . I confess . . . Iimagined . . . for a second . . .POZZO:Waiting? So you were waiting for him?VLADIMIR:Well you see—POZZO:Here? On my land?VLADIMIR:We didn't intend any harm.ESTRAGON:We meant well.POZZO:The road is free to all.VLADIMIR:That's how we looked at it.POZZO:It's a disgrace. But there you are.ESTRAGON:Nothing we can do about it.POZZO:(with magnanimous gesture). Let's say no more about it. (He jerks the rope.) Up pig! (Pause.) Every time he drops he falls asleep. (Jerks the rope.) Up hog! (Noise of Lucky getting up and picking up his baggage. Pozzo jerks the rope.) Back! (Enter Lucky backwards.) Stop! (Lucky stops.) Turn! (Lucky turns. To Vladimir and Estragon, affably.) Gentlemen, I am happy to have met you. (Before their incredulous expression.) Yes yes, sincerely happy. (He jerks the rope.) Closer! (Lucky advances.) Stop! (Lucky stops.) Yes, the road seems long whenone journeys all alone for . . . (he consults his watch) . . . yes . . . (he calculates) . . . yes, six hours, that's right, six hours on end,and never a soul in sight. (To Lucky.) Coat! (Lucky puts down the bag, advances, gives the coat, goes back to his place, takes up the bag.)Hold that! (Pozzo holds out the whip. Lucky advances and, both hishands being occupied, takes the whip in his mouth, then goes back tohis place. Pozzo begins to put on his coat, stops.) Coat! (Lucky puts down the bag, basket and stool, helps Pozzo on with his coat, goes backto his place and takes up bag, basket and stool.) Touch of autumn inthe air this evening. (Pozzo finishes buttoning up his coat, stoops, inspects himself, straightens up.) Whip! (Lucky advances, stoops, Pozzo snatches the whip from his mouth, Lucky goes back to his place.) Yes, gentlemen, I cannot go for long without the society of my likes (heputs on his glasses and looks at the two likes) even when the likenessis an imperfect one. (He takes off his glasses.) Stool! (Lucky putsdown bag and basket, advances, opens stool, puts it down, goes back tohis place, takes up bag and basket.) Closer! (Lucky puts down bag and basket, advances, moves stool, goes back to his place, takes up bag and basket. Pozzo sits down, places the butt of his whip against Lucky'schest and pushes.) Back! (Lucky takes a step back.) Further! (Luckytakes another step back.) Stop! (Lucky stops. To Vladimir and Estragon.) That is why, with your permission, I propose to dally with you a moment, before I venture any further. Basket! (Lucky advances, gives the basket, goes back to his place.) The fresh air stimulates the jaded appetite. (He opens the basket, takes out a piece of chicken and a bottle of wine.) Basket! (Lucky advances, picks up the basket and goes back tohis place.) Further! (Lucky takes a step back.) He stinks. Happy days!He drinks from the bottle, puts it down and begins to eat. Silence. # Vladimir and Estragon, cautiously at first, then more boldly, begin to circle about Lucky, inspecting him up and down. Pozzo eats his chicken voraciously, throwing away the bones after having sucked them. Luckysags slowly, until bag and basket touch the ground, then straightens up with a start and begins to sag again. Rhythm of one sleeping on hisfeet.ESTRAGON:What ails him?VLADIMIR:He looks tired.ESTRAGON:Why doesn't he put down his bags?VLADIMIR:How do I know? (They close in on him.) Careful!ESTRAGON:Say something to him.VLADIMIR:Look!ESTRAGON:What?VLADIMIR:(pointing). His neck!ESTRAGON:(looking at the neck). I see nothing.VLADIMIR:Here.Estragon goes over beside Vladimir.ESTRAGON:Oh I say!VLADIMIR:A running sore!ESTRAGON:It's the rope.VLADIMIR:It's the rubbing.ESTRAGON:It's inevitable.VLADIMIR:It's the knot.ESTRAGON:It's the chafing.They resume their inspection, dwell on the face.VLADIMIR:(grudgingly). He's not bad looking.ESTRAGON:(shrugging his shoulders, wry face.) Would you say so?VLADIMIR:A trifle effeminate.ESTRAGON:Look at the slobber.VLADIMIR:It's inevitable.ESTRAGON:Look at the slaver.VLADIMIR:Perhaps he's a halfwit.ESTRAGON:A cretin.VLADIMIR:(looking closer). Looks like a goiter.ESTRAGON:(ditto). It's not certain.VLADIMIR:He's panting.ESTRAGON:It's inevitable.VLADIMIR:And his eyes!ESTRAGON:What about them?VLADIMIR:Goggling out of his head. #ESTRAGON:Looks like his last gasp to me.VLADIMIR:It's not certain. (Pause.) Ask him a question.ESTRAGON:Would that be a good thing?VLADIMIR:What do we risk?ESTRAGON:(timidly). Mister . . .VLADIMIR:Louder.ESTRAGON:(louder). Mister . . .POZZO:Leave him in peace! (They turn toward Pozzo who, having finished eating, wipes his mouth with the back of his hand.) Can't you see he wants to rest? Basket! (He strikes a match and begins to light his pipe.。
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• the traditional idea of time having a meaning for man • Man needs to feel a connection between today and yesterday. Pozzo is the symbol of chronological, linear time in the play until he loses his watch. Then everything merges into non-differentiated, present time. One day is the same as another. Everyone is caught in a cyclical prison of life and death and birth.
• Hope • Vladimir and Estragon are lowly bums. Their only material possessions—besides their tattered clothes— are a turnip and a carrot. Nevertheless, they have not given up on life; they do not descend into depression, pessimism, and cynicism. Even though they frequently exchange insults, they enjoy each other’s company and help each other. Above all, though, they wait. They wait for Godot. They do not know who he is or where he comes from. But they wait just the same, apparently because he represents hope.
• The themes are concerned with the general condition of the universe
• Focus is on the uncertain quality of existence. The universe may be ordered by a God with pity for his creations (the traditional God with a "white beard" or the universe may be controlled by chance or a cruel fate.
Themes in
• Waiting for Godot is a two-act stage drama classified as a tragicomedy. In 1965, critic Martin Eslin coined the term theater of the absurd to describe Godot and other plays like it. As a result, these plays also became known as absurdist dramas.
• Search for Meaning
• Vladimir and Estragon are homeless rovers attempting to find an answer to a question all human beings face: What is the meaning of life? Godot may have the answer for them. So they wait. After Godot fails to appear on the first day, they return to the tree the next day to continue waiting. He does not come. Vladimir and Estragon decide to leave the area. However, the stage direction at the end of the play says, "They do not move." Apparently, they plan to continue their search for meaning by continuing to wait for Godot.
Our mortality
• A central theme running through the play is the idea that all activities, either pleasurable or agonized, are designed to distract us from the one reality which we know with absolute certainty - our mortality. The existentialists do not accept the idea of an after-life - so this mortality takes on an even greater meaning.
• devaluation of language as a means of communication • Language has become meaningless and false. It serves no purpose. People cannot communicate with words and so they are left isolated and helpless in a chaotic universe.
• Monotony • Life is tedious and repetitive for Vladimir and Estragon. In the first act of the play, they meet at a tree to wait for Godot. In the second act, they meet at the same tree to wait for Godot.
• • • •
the futility of life the lack of purpose in life the uncertainty of life the anxine of the complexities of Literature of the Absurd is that it is often difficult to define a theme, since the very absurdity of the work is focused (usually) on man's inability to make sense of things. However, there are some discernible threads of themes in Waiting for Godot.
• Waiting • Man has lost all sense of value in this irrational, cruel, pointless universe. If there is no Godot, then there is only waiting, which in itself is meaningless. Man seems to be waiting simply for the release from life which death brings.
• The characters are crippled with inaction and anxiety. They wait around for the mysterious Godot, as if then they'll be able to take action. They wait for something external to give them meaning. There is also a religious interpretation to this play in the sense that people rely on (wait for) religious deities and creeds to dictate the next course of action they should take. People also later attribute their past actions to god(s), and rely on god(s) to give their life purpose.
• Dependency
• Vladimir and Estragon depend on each other to survive. Although they exchange insults from time to time, it is clear that they value each other's company. One could imagine Pozzo without Lucky—until the second act, when the audience learns he has gone blind. Unable to find his way, Pozzo is totally dependent on Lucky. Lucky, of course, is tied to Pozzo—by a rope and by fear of being abandoned.
• The play is concerned with the theme of deconstruction - the deconstruction of realism, of theatrical conventions, of expectations, of time, of reason, of values. The deconstruction of the absolutes is also important, especially the illusion of absolute truth. The 'truth' is seen as the lack of logic, order and certainty. Waiting for Godot presents us with a universe which is illogical, chaotic, uncertain, cruel, and arbitrary. Man is shown to construct whatever fiction he needs to survive.