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On Religion, Tzapan God’s shrouded identity lies in the obscurity of the confusion on Godot. Vladimir and Estragon are passive and impotent before time… How do you represent that? Cyclical nature of time is absurd. Whiling away the time to avoid thinking of their own despair, falling into a never-ending spiraling vortex (dog poem/ insults)

On time, Fi Li-Po Practically nothing happens, no development is to be found, there is no beginning and no end. This experience is often offered as a source for the two main characters in Beckett’s Waiting for Godot, the foot-weary, hopeless but ever-expectant, Vladimir and Estragon. There they waited out the rest of the war. This pretense eventually became a reality: after two months in various Paris hideouts, they fled on foot to a remote mountain village in southeast France, walking by night and sleeping by day. Realizing that their cover was blown, Beckett and his companion, Suzanne Deschevaux-Dumesnil put on their coats and left their Paris apartment as if going for a walk. In the Fall of 1942 an informer infiltrated Beckett’s group, and many of his friends were caught and killed by the Gestapo. Samuel Beckett was an active member of the French Resistance during WWII, and afterwards twice-decorated for it. A sobre and barren set, sort of post apocalyptic scenery with a path, desert land and one barren tree as a post-war terrain. He had also written Whoroscope, in Paris in 1930 He underwent the influence of the Surrealists and the Daddaists. Waiting for Godot was not only a change of pace and genre but of language: he hoped writing the play in French would help trigger something new. Some poems had been published, and some essays his novel Murphy had finally found a publisher, but had not sold.

He had been in Paris since 1937, surviving for a decade mostly on translation work. He is an Irishman, and studied at Trinity College in Dublin, that we visited. “ ONly when the last lines have been spoken and the curtain has fallen that we are in a position to grasp the total pattern of the complex poetic image we have been confronted with.”īeckett said he wrote Godot as “a relaxation, to get away from the awful prose I was writing at the time.” That was in 1948-1949. “ A term like the Theatre of the Absurd must therefore be understood as a kind of intellectual shorthand for a complex pattern of similarities in approach, method and convention, of shared philosophical and artistic premises, whether conscious or subconscious, and of influences of a common tradition.”Įdward Albee, Samuel Beckett, Jean Genet, Ionesco, Harold Pinter, Tom Stoppard, Fernando Arrabal, Issam Mahfouz, Vaclav Havel, Malay Roy Choudhury, are amongst the tenants of this literary form. The term ‘Theatre of Absurd’ was coined by Martin Esslin in his essay ‘The Theatre of the Absurd’ (1961).