Waiting for Godot
Modern Irish Drama
‘Waiting for Godot’ by Samuel Beckett
“To what extent does Waiting for Godot offer a commentary on the difficulty of communication?”
Communication is defined as the imparting or exchanging of information by speaking, writing, or using some other medium. We can converse, we can write, we can even sing and we can also use physical interaction, whether it be affectionate or cruel, as a means of communicating with one another. However, the act of communication is predominantly governed by the use of language. In absurdist plays, such as Samuel Beckett’s Waiting for Godot, it is typical to see an illogical use of words, which can bring about distrust of language being used as a means of communication. Having a strong relationship with existentialist philosophy, absurdist plays sought to focus on the idea of meaningless human existence resulting in the breakdown of communication within a play. The seemingly inconsequential conversations between the play’s main characters, Vladimir and Estragon, are a perfect example of this breakdown of communication. There is certainly no shortage of conversation between the characters, however the dialogue between them is little more than a means to pass time, rather than to communicate with one another. It is for this reason and for the reason that I believe existentialism is at the core of this play, that I am unsure if Waiting for Godot offers a commentary on the difficulty in communication. I am more inclined to think that it is this breakdown of communication in the play that is instead offering a commentary on human existence.
Vladimir and Estragon are Beckett’s main characters in the play who are waiting impatiently for the arrival of the mythical figure of ‘Godot’. Depicted as little more than tramps, they have an interdependent relationship. Comparable to duos such as the comic ‘Laurel and Hardy’, ‘Bert and Ernie’ or even perhaps to a degree ‘Ted and Dougal’, the pair are in the recognisable
‘Waiting for Godot’ by Samuel Beckett
“To what extent does Waiting for Godot offer a commentary on the difficulty of communication?”
Communication is defined as the imparting or exchanging of information by speaking, writing, or using some other medium. We can converse, we can write, we can even sing and we can also use physical interaction, whether it be affectionate or cruel, as a means of communicating with one another. However, the act of communication is predominantly governed by the use of language. In absurdist plays, such as Samuel Beckett’s Waiting for Godot, it is typical to see an illogical use of words, which can bring about distrust of language being used as a means of communication. Having a strong relationship with existentialist philosophy, absurdist plays sought to focus on the idea of meaningless human existence resulting in the breakdown of communication within a play. The seemingly inconsequential conversations between the play’s main characters, Vladimir and Estragon, are a perfect example of this breakdown of communication. There is certainly no shortage of conversation between the characters, however the dialogue between them is little more than a means to pass time, rather than to communicate with one another. It is for this reason and for the reason that I believe existentialism is at the core of this play, that I am unsure if Waiting for Godot offers a commentary on the difficulty in communication. I am more inclined to think that it is this breakdown of communication in the play that is instead offering a commentary on human existence.
Vladimir and Estragon are Beckett’s main characters in the play who are waiting impatiently for the arrival of the mythical figure of ‘Godot’. Depicted as little more than tramps, they have an interdependent relationship. Comparable to duos such as the comic ‘Laurel and Hardy’, ‘Bert and Ernie’ or even perhaps to a degree ‘Ted and Dougal’, the pair are in the recognisable
Bibliography: 1. Asmus, Walter, ‘Beckett Directs Godot’, Theatre Quarterly 5, 19 (September – November, 1975), p. 21. 2. Beckett, Samuel, Waiting for Godot (London: Faber and Faber Ltd, 2010). 3. Fletcher, John, About Beckett: The Playwright and The Work (London: Faber and Faber Ltd, 2006) 4 [ 2 ]. Samuel Beckett, Waiting for Godot (London: Faber and Faber Ltd, 2010), p. 45. [ 3 ]. Samuel Beckett, Waiting for Godot (London: Faber and Faber Ltd, 2010), pp. 8-9. [ 6 ]. Ronan McDonald, The Cambridge Introduction to Samuel Beckett (New York: Cambridge University Press, 2006), p. 37. [ 8 ]. Samuel Beckett, Waiting for Godot (London: Faber and Faber Ltd, 2010), pp. 27-28. [ 9 ]. Ronan McDonald, The Cambridge Introduction to Samuel Beckett (New York: Cambridge University Press, 2006), p. 38. [ 11 ]. Walter Asmus, ‘Beckett Directs Godot’, Theatre Quarterly 5, 19 (September – November, 1975), p. 21.