Theater Beckett Godot

Assignment 1:

Comparative Study

How does Ionesco and Beckett's dramaturgy in ‘Waiting for Godot' and ‘The Bald Soprano' express the absurdist and existentialist view that life is essentially meaningless.

Océane Herpin

‘Waiting for Godot' and ‘The Bald Soprano' are two of the most classic examples of why life is called the theatre of the absurd. The Theatre of the Absurd came about as a reaction to World War II. It took the basis of existential philosophy and combined it with dramatic elements to create a style of theatre which presented a universe which cannot be logically explained or defined; life is therefore meaningless and lacks purpose.

The conventional qualities of traditional theatre: realistic characters and situations, comprehensible dialogues and a clear plot, were abandoned to convey this vision of absurdity. Instead, the characteristics which coincide with many of the plays in this modern absurdist theatre: broad comedy, tragic images, characters in hopeless situations, nonsensical dialogues full of clichés and wordplay; plots that are cyclical or absurdly expansive were adopted and replaced the concept of the "well-made play".

Of these characteristics, this essay focuses on the dramaturgy, more specifically the 'cyclical' dramaturgy that Beckett and Ionesco adopted in their plays, and how this is effective in expressing the absurdist and existentialist vision that life is inherently without meaning or purpose.

As many Absurdist playwrights, Beckett and Ionesco did away with most of the logical structures of traditional theatre. Thus, ‘Waiting for Godot' and ‘The Bald Soprano' are often described as 'anti plays'; they reject a coherent story-line, deviate from the traditional episodic structure, and seem to move in a circle, ending the same way they began. The plays have a beginning, but the beginning seems in a way arbitrary because what happened before the beginning does not seem important.

The plays have an end, but the end somewhat recalls the beginning and thus a sense of circularity is created replacing the sense of closure that conventional stories generally provide. John W. Fiero makes an interesting observation that the ‘Ouroboros', a snake devouring its own tail, can serve as the new structural paradigm. It suggests an endless, tedious, and futile cycle.

Beckett's and Ionesco's plays both rely on repetition and 'looping': in ‘Waiting for Godot' the protagonists decide to move and then do not move, over and over again; the two sets of families in ‘The Bald Soprano' become interchangeable at the end of the play. This reinforces the absurdist and existentialist idea of life as having no clear purpose and of life being an interminable waiting for a sense of purpose or closure that is unlikely ever to arrive.

The seemingly endless waiting that Estragon and Vladimir undertake for the mysterious Godot reflects this idea and to effectively express it, Beckett abandons traditional plot development and creates a circular symmetrical movement throughout ‘Waiting for Godot.' The second act parallels the first. Nothing new happens: Godot fails to appear in both acts, Vladimir and Estragon find themselves caught in these pointless routines and repetitive pantomimes, further emphasizing the ridiculous purposelessness of their lives.

In Act 2 the characters engage in ways that closely parallel the first act; the key difference seems to be an increased struggle in the second act to pass the time, which passed quickly in the first act because of Pozzo and Lucky, whose appearance is briefer in the second act. This pointless waiting and boredom makes Estragon more desperate to leave and Vladimir continually reminds him why they mustn't leave because they're waiting for Godot:

VLADIMIR: We can't.
ESTRAGON: Why not?
VLADIMIR: We're waiting for Godot.
ESTRAGON: (despairingly) Ah! (Pause.)
You're sure it was here?

Here we are given information that these two men are waiting for someone called Godot and Estragon's tone suggests the possibility that it is not the first time and that they have done it before and been disappointed. This adds to the effect that there is no real beginning and their present situation is somewhat static. The characters want to go but feel stuck waiting for Godot.
ESTRAGON: What about hanging ourselves?
ESTRAGON: Don't let's do anything.
VLADIMIR: Let's wait and see what he says.

They want to commit suicide, but have grown either too lethargic or too helpless to act on their desires, they are too caught up in their routines and habits. In their presence, even Pozzo catches on to this feeling, at the moment of his departure, they have an absurdly repetitive dialogue and Pozzo finds himself unable to leave:
POZZO: Adieu.
POZZO: And thank you.
VLADIMIR: Thank you
POZZO: Not at all
POZZO: No no.
POZZO: I seem to be unable...[Long hesitation] depart.
ESTRAGON: Such is life.

Paralysed, immobilised, forced to remain stationary, they must remain passive as well. Unable to act, they are capable only of waiting, waiting for the end they know will never come. But they remain still, in constant hope of being acted upon and remain in the same situation throughout the play, just as nothing really begun, nothing ever finishes.

This structure of the play serves to reinforce the timelessness of their situation, thus emphasising on the pointlessness of their lives, that time passes by and nothing changes, but they remain in this static situation helplessly waiting for something, a reason or purpose to live, that they subconsciously know will never come to them.

This similar cyclical, repetitive and absurd structure, ending where it first began, is adopted in Ionesco's ‘Bald Soprano'. In fact the "Bald Soprano" itself was inspired by the inane sentences Ionesco read again and again in the textbook he used to learn English. Already, Ionesco had acquired this sense of repetition and practical cyclical movement through his learning of a language.

Please do not pass this sample essay as your own, otherwise you will be accused of plagiarism. Our writers can write any custom essay for you!
  • “There are no happy endings, because nothing ends – Сustom Literature essay
  • “There are no happy endings, because nothing ends.” - Peter S. Beagle/ Rankin-Bass The Last Unicorn People tend to wish for their lives to play out perfectly, as in a movie or fairy tale. Sadly, this rarely happens, and sadder still is the fact that many of us trust that this fairy tale will come
  • Waiting
  • Life is occupied by waiting. In Waiting for Godot, Samuel Becket presents the suffering of the human condition. Godot is about two beings who talk about nothing, experience the drudgery of life, complain that they do not do anything, meet a few people, think about hanging themselves, and then do it all over again. The
  • Samuel Beckett: Waiting for Godot. Man's Battle With Himself. English Literature essay
  • Although it appears on the surface that Samuel Beckett's Waiting for Godot is a tragicomedy about two rather pitiful vagrants and their brief encounter with another pair of sad and confused men, I believe Beckett was writing about man's battle with himself. Estragon, whose main concern is releasing his sore feet from the constraints of their
  • Reading Response To Waiting For Godot
  • Sample essay topic, essay writing: Reading Response To Waiting For Godot - 912 words Samuel Beckett's Waiting for Godot is an absurd play about two men, Vladimir (Didi) and Estragon (Gogo) who wait under a withered tree for Godot, who Vladimir says has an important but unknown message. This play is incredibly bizarre, because at times
  • Compare Rosencrantz And Guilde
  • Sample essay topic, essay writing: Compare Rosencrantz And Guilde - 1353 words Compare and contrast the ways in which 'Rosencrantz and Guildenstern are Dead' by Tom Stoppard and 'Waiting for Godot' by Samuel Beckett teach important insights about the human condition. Inspired by Beckett's literary style, particularly in 'Waiting for Godot', Stoppard wrote 'Rosencrantz and Guildenstern
23 October 2014. Author: Criticism