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Samuel Beckett’s influential play Waiting for Godot was a turning point for the development of theatrical conventions in many ways. ...
In the following essay I will examine the ways in which Beckett, in Waiting for Godot, highlights and comments upon its own status as theatre.
One way in which Beckett comments upon the idea of its own status of theatre in Waiting for Godot is by having the characters comment upon the fact that they are on a stage and that through their actions it is clear that they are conscious of being on a stage. For example Estragon comments on the presence of the audience,
Estragon moves to centre, halts with his back to the auditorium.
ESTRAGON: Charming spot. ...
Through this slightly ironic acknowledgement Estragon is confirming his presence on the stage and breaking with the illusion of the separate world on stage that most theatre audiences at this time were familiar with. ... This idea is continued throughout Waiting for Godot as Estragon tells Vladimir the way to the toilet is “end of the corridor, on the left” and Vladimir remarks to Pozzo and Lucky that “you’re going the wrong way” as they leave the stage, ironically as neither way can be the wrong way when exiting a stage. Perhaps this idea of presence on the stage is taken to a climax in the second act when, at the impending arrival of Pozzo and Lucky, Estragon and Vladimir once more run from one side of the stage to another and Estragon runs into the wings to get lost and returning to remark, “I’m in Hell” connoting the idea that, like Hell, the stage is a place without exits. ... (Estragon makes a rush towards back. ... There’s no way out there. (He takes Estragon by the arm and drags him towards front. ... (He pushes Estragon towards auditorium. Estragon recoils in horror. ...
Vladimir and Estragon are once more caught in the physical confinements of the stage unable to run away. ...
Beckett also uses sly phrases seemingly hidden away in the text to make the audience aware of the theatricality of Waiting for Godot. ... Pozzo asks if he is anywhere near “the place known as the Board” , again a possible metaphor of the stage, but also perhaps an allusion to Beckett’s future play Endgame, which has references to a chess-game.
Approximate Word count = 1944
Approximate Pages = 7.8
(250 words per page double spaced)
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