A STUDY OF THE DRAMA OF SAMUEL BECKETT

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Beckett’s Drama

Samuel Beckett was a multi-media playwright. He began writing plays for the stage, radio, television, and cinema after the Second World War. He produced about 20 plays for the stage; seven for radio; seven for television; and one for the cinema. Beckett’s plays inaugurated fresh dramatic taste and sensibility. They make fun of all hitherto known dramatic conventions by shunning story – telling kind of plot, character development and intrigue, as well as straight theme and easily digestible moral, etc. They are instrumental to the idea of ‘theatre of the absurd’ by humorously examining themes that appear similar to those of the existential thinkers.

Esslin argues that his plays have little affinity with the existentialist philosophy for even though they deal with despair, loneliness, and anguish, the will to survive in spite of the despair, in an uncomprehending world, appears everywhere evident. Though the plays “spring from the deepest strata of the mind and probe the darkest wells of anxiety” (The Theatre of the Absurd 38), the characters frequently hope for an uncertain salvation. It is this hope of salvation that restrains Vladimir and Estragon from committing suicide in Waiting for Godot. Beckett’s drama assaults the audiences with new idea about human existence, with a disorientating spirit. In his plays:

Characters often engage in a seemingly meaningless dialogue or activities, and as a result, the audience senses what it is like to live in a universe that doesn’t “make sense”. Beckett and others who adopted this style felt that this disoriented feeling was a more honest response to the post World War II world than the traditional belief in a rationally ordered universe. Waiting for Godot remains the most famous example of this form of drama (www.endnotes.com.)

Synopsis of Waiting for Godot

Waiting for Godot is a play in two acts. The activities in the two acts occur at a country road at the same time and with a tree forming the background set. It has five characters, which in order of their appearance are Estragon (Gogo), Vladimir (Didi), Lucky, Pozzo, and a boy. In Act I, Estragon is sitting on a low mound trying to pull off his boot. As he is getting frustrated by the exercise, Vladimir enters. They chat about the boot, mysterious people that beat Estragon, the thieves on the cross, indulge in reminiscences of the past glory. Their inglorious present constrains them to think of suicide but the hope that Godot will come and save them from their terrible condition causes them to refrain from the act.

As Estragon eats the carrot offered to him by Vladimir, lucky and his master, Pozzo appear. Pozzo controls Lucky with a whip and a rope he ties round his neck. In addition to the strangulating rope, Lucky is carrying his master’s bag, folded stool, coat, and a picnic basket. While Lucky stinks because of “A running sore’ caused by the rubbing” of the rope, Pozzo enjoys himself with chicken, wine, and tobacco. Estragon and Vladimir are scandalised by this inhuman treatment but Pozzo who appears to be certain of himself, tells them that it is chance that places them in their different state. “To each his due’, he says.

Upon a harsh order, Lucky was forced to entertain the team and to think aloud about the world, until he is compelled to stop. As Pozzo and Lucky leave the scene, a boy, the messenger of Godot arrives and tells Vladimir and Estragon that Godot has postponed his coming to the following day. This annoys them but they nevertheless resolve to wait for him.

In Act II, Estragon experiences loss of memory and refuses to be spoken to by Vladimir who comes to the scene agitated. They soon reconcile and Vladimir learns that Estragon has been beaten by mysterious people. As they chat and wait for Godot, Lucky and Pozzo appear again. Lucky is dumb and Pozzo is blind and extremely feeble, constantly tearing the air with cries of agony. As Pozzo and Lucky wobble out of sight, a boy – messenger appears to inform Vladimir and Estragon that Godot has again shifted his coming the following day. The tramps resolve to buy a strong rope in readiness to commit suicide if Godot fails to keep his appointment.

Thematic Study of Waiting for Godot

The greatest stir in the European theatre of the modern period was caused by the production of Samuel Beckett’s ‘Waiting for Godot’ which was first premiered in Paris in 1952 and London in 1955. Lawson (1960 Xii) argues that in this play, “The unseen power’ that has destroyed the humanity of the characters”, compels “them to do nothing but comment, philosophically and often with comic vigor, on their fate”. The early productions of the play got the audiences very disconcerted and alarmed. The initial feeling of outrage that greeted the play is due largely to its absconding from preconceived and previously known dramatic conventions.

Lawson notes that another reason is that Beckett “adopts the principle of indeterminacy which denies all dramatic meaning” (xiii). Characters are not certain that they exit, that they have met each other. Estragon and Vladimir are waiting for Godot whom they do not know or are sure that he will ever meet their appointment. According to Robbe-Grillet (1965: iii):

To say that nothing happens in it is an understatement. Besides, the absence of plot or intrigue of any kind had been met with before. But here less than nothing happens. It is as if we were watching a sort of regression beyond nothing. As always in Beckett, that little we are given to begin with, and which we thought so meager at the time, soon decays under our very eyes – disintegrates like Pozzo, who comes back bereft of light, dragged by a Lucky bereft of speech; like the carrot, which as if in mockery has dwindled by the second act into a radish.

The reason for the initial shock produced by Waiting for Godot is understandable. A play savagery addicted to philosophical despair is strange to the English audience at the materials time because the “bourgeoisie hold” does not permit the people to see “the fading glories of their great past” as well as “the tensions that indicate the breakdown of old certitudes” (Lawson, p.xiv). In fact, the play is a daring adventure which shatters the old notion of what drama entails both in content and form. This accounts for the difficulty in comprehending the play during its early productions. However, when the veil is removed, Waiting for Godot’s fame spread like wild fire during the harmattan.

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    *==============*

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