From an inauspicious beginning at the tiny Left Bank Theatre de Babylone in 1953, followed by bewilderment among American and British audiences, "Waiting for Godot" has become one of the most important and enigmatic plays of the past fifty years and a cornerstone of twentieth-century drama. As Clive Barnes wrote, "Time catches up with genius. . . . "Waiting for Godot" is one of the masterpieces of the century." The story revolves around two seemingly homeless men waiting for someone--or something--named Godot. Vladimir and Estragon wait near a tree, inhabiting a drama spun of their own consciousness. The result is a comical wordplay of poetry, dreamscapes, and nonsense, which has been interpreted as mankind's inexhaustible search for meaning. Beckett's language pioneered an expressionistic minimalism that captured the existential post- World War II Europe. His play remains one of the most magical and beautiful allegories of our time.

Two old tramps wait on a bare stretch of road near a tree for Godot.

This book provides an introductory study of Beckett's most famous play, dealing not just with the four main characters but with the pairings that they form, and the implications of these pairings for the very idea of character in the play. After locating Godot within the context of Beckett's work, Lawley discusses some of the play's puzzles and difficulties-including the absent "fifth character", Godot himself.

This volume offers a comprehensive critical study of Samuel Beckett's first and most renowned dramatic work, Waiting for Godot, which has become one of the most frequently discussed, and influential plays in the history of the theatre. Lawrence Graver discusses the play's background and provides a detailed analysis of its originality and distinction as a landmark of modern theatrical art. He reviews some of the differences between Beckett's original French version and his English translation.

Waiting for Godot follows Endgame and Krapp's Last Tape in this highly praised series of Beckett's notebooks, which show for the first time the extensive revisions made by Beckett during revivals of the play. This volume is in part a facsimile, with transcription and commentary, of the notebook kept by Beckett for Berlin's Schiller-Theater production in 1975. It contains a full set of directorial notes, and discloses, section by section, a total system that works by repetition and analogy, musical rhythm and echo, establishing subtle patterns of sound, movement and gestures.

"An impressively complete survey of the play in its cultural, theatrical, historical and political contexts." - David Bradby, co-editor of Contemporary Theatre Review Samuel Beckett's Waiting for Godot is not only an indisputably important and influential dramatic text -it is also one of the most significant western cultural landmarks of the twentieth century. Originally written in French, the play first amazed and appalled Parisian theatre-goers and critics before receiving a harshly dismissive initial critical response in Britain in 1955. Its influence since then on the international stage has been significant, impacting on generations of actors, directors and audiences.

From an inauspicious beginning at the tiny Left Bank Theatre de Babylone in 1953, followed by bewilderment among American and British audiences, "Waiting for Godot" has become one of the most important and enigmatic plays of the past fifty years and a cornerstone of twentieth-century drama. As Clive Barnes wrote, "Time catches up with genius. . . . "Waiting for Godot" is one of the masterpieces of the century." The story revolves around two seemingly homeless men waiting for someone--or something--named Godot. Vladimir and Estragon wait near a tree, inhabiting a drama spun of their own consciousness. The result is a comical wordplay of poetry, dreamscapes, and nonsense, which has been interpreted as mankind's inexhaustible search for meaning. Beckett's language pioneered an expressionistic minimalism that captured the existential post- World War II Europe. His play remains one of the most magical and beautiful allegories of our time.

A modern play by the noted 20th century Irish author and playwright

Seminar paper from the year 2001 in the subject English Language and Literature Studies - Literature, grade: 1,7, University of Regensburg (Institut fur Anglistik und Amerikanistik), course: Proseminar: From Modernism to Postmodernism, 10 entries in the bibliography, language: English, abstract: This peace of work deals with the question, whether Beckett's "Endgame" is a continuation of "Waiting for Godot." In order to answer it, both plays will be compared to work out similarities as well as differences. Godot will function as a basis and startingpoint for interpretation, that will then turn towards Endgame for comparison to come to a conclusion. Main features of the drama such as plot, setting, characters, action, language and time will be involved in this procedure of analysis. To a certain extent, this approach towards the two plays will also be related to the historical context of Postmodernism and the philosophical background of Existentialism, as well as to characteristics of the Theatre of the Absurd or the Expressionist Theatre."

This study, while surveying all of Samuel Beckett's major fiction, focuses on the work that he regarded as his masterpiece: the trilogy of novels Molloy, Malone Dies, and The Unnamable. It analyzes the ways in which Beckett, as he moves from one novel to the next, demystifies each of the principal idols to which human beings have looked for protection and guidance in the successive phases of their history. In part one of Molloy this role is assumed by the figure of the mother and the various women who minister to Molloy's needs in the course of his journey. In part two, these maternal figures are replaced by Youdi and other male authority figures, including Father Ambrose, who embody the rule of paternal law. In Malone Dies, we enter the period of modern individualism, in which, freed from dependence upon the parental figures that had dominated Molloy, Malone ("man alone") looks vainly to himself for the guidance that they had formerly provided.