It is an introductory presentation on the play Waiting for Godot written by Samuel Beckett. In this presentation there is a description of the author, characters, themes, symbols, various interpretation of the play.

1. Introductory
Presentation on
‘Waiting For Godot’
~ Samuel Beckett
Presenters : ● Khushi Rathod
● Vishwa Parmar
● Maya Batiya
● Pallavi Parmar
● Yashraj Sodha
Department of English, MKBU
Date: 21st Feb, 2024
Department of English

2. Points to Ponder:
● Author Introduction
● Works
● Recognition and Style
● Theatre of the Absurd
● Characters of the Play
● Psychoanalytic Reading of the Characters
● Plot Summary of the Play
● Themes of the Play
● Symbols of the Play
● The Searching for the Self
● Existentialism in the Play
● Myth of Sisyphus
● Circular Nature of the Play
● Deconstruction Analysis of the Play

3. Author Introduction
● Full name: Samuel Barclay
Beckett
● He was an Irish novelist,
dramatist, short story writer,
theatre director, poet, and
literary translator.
● Born in Dublin, Ireland in 1906,
died in 1989.

4. Works:
● Known for his bleak, impersonal, and tragicomic depictions of life, often
using black comedy and nonsense.
● Most famous for the play Waiting for Godot (1953), considered a
masterpiece of the Theatre of the Absurd.
● Other notable works include plays like Endgame (1957) and Happy Days
(1961), novels like Murphy (1938) and Molloy (1951), and short stories like
More Pricks Than Kicks (1934).
● Wrote in both English and French, often translating his own work.

5. ● Awarded the Nobel Prize in
Literature in 1969.
● Widely considered one of the
most important and influential
writers of the 20th century.
Recognition:
● Participated in the French
Resistance during World War II.
● Had a close relationship with Irish
author James Joyce.
● His work continues to be
performed, studied, and analyzed
around the world.
Additional Points:
Style:
● Became increasingly minimalist as his career
progressed, with more aesthetic and linguistic
experimentation.
● Often used techniques like stream of consciousness,
repetition, and self-reference.

6. What is Theatre of the Absurd?
The Theatre of the Absurd is a term coined
by Critic Martin Esslin in his essay “Theatre
of the Absurd.” The term is used for the
work of a number of playwrights, mostly
written in the 1950s and 1960s, which were
written by a number of primarily European
playwrights in the late 1950s. Their work
simply expressed the thought of human
existence that has no meaning or purpose. If
a trouble comes, some logic is given on a
matter, it simply makes the situation worse
and further leads to silence.

7. Theatre of the Absurd Definition :-
Merriam - Webster Dictionary defines
the term as:
“Theater that seeks to represent the
absurdity of human existence in a
meaningless universe by bizarre or
fantastic means.”

8. ● Influenced by existentialism
● Originated in experimental theatre in Paris
● Absurdist plays written in French
● Absurd elements seen in Aristophanes' Greek Drama
● Morality plays of Middle Ages as precursors
● Ibsen and Strindberg included some absurd elements
● Alfred Jarry's "Ubu Roi" as a significant precursor
● World War II catalyzed the movement, prompting
contemplation of absurd existence
History Of The Theatre of The Absurd

9. 1. Samuel Beckett:- Waiting for
Godot
2. Walter Wykes:- Three Plays
of the Absurd
3. Harold Pinter:- The Birthday
Party
4. Witold Gombrowicz:- The
Marriage
Examples

10. Plot Summary of the play
● The plot revolves around two characters, Vladimir and Estragon, who are waiting
for someone named Godot by a tree on a desolate road.
● Godot never arrives, and the characters engage in various conversations, encounters,
and comedic routines to pass the time.
● They are visited by two other characters, Pozzo and Lucky, whose interactions
contribute to the absurdity and existential contemplation of the play.
● The play as Vladimir and Estragon grapple with the meaning of their existence.
● The play is characterized by its minimalist setting, existential themes, and open-
ended conclusion, leaving audiences to interpret its deeper meanings.

11. Characters of ‘Waiting for Godot’:
● He is one of the two main characters.
● Vladimir is more intellectual and tends to
take the lead in their discussions and
activities while waiting for Godot.
● He often questions their situation and tries
to pass the time through conversation and
activities.
● The Second main character.
● Estragon is more lethargic and prone to
complaining.
● He often struggles with his boots and has
difficulty remembering past events.
● He relies on Vladimir for support and
company during their wait for Godot.
1. Vladimir (Didi) 2. Estragon (Gogo)

12. ● A wealthy landowner
● He passes through the area where
Vladimir and Estragon are waiting.
● He travels with his slave, Lucky.
● Pozzo is bombastic, authoritative, and
treats Lucky poorly.
● Pozzo's slave
● He is treated more like a servant or a pack
animal.
● Lucky is silent for most of the play until
Pozzo orders him to think and speak.
● When he does, he delivers a long,
nonsensical monologue that showcases his
mental anguish.
3. Pozzo 4. Lucky

13. ● He appears twice in the play
● delivering messages from Godot to
Vladimir and Estragon.
● The boy is young and seems to have a
connection with Godot, though the
nature of this connection is unclear.
● Central but elusive character in the play.
● Mysterious and awaited by Vladimir and
Estragon.
● Never appears in the play, leaving identity
ambiguous.
● Symbolizes hope, salvation, or a higher power.
● Represents humanity's pursuit of purpose and
fulfillment.
● Absence embodies uncertainty and elusiveness
of meaning in existence.
5. The Boy: 6. Godot :

14. A Psychoanalytic Reading of the Characters
Ways of Waiting:
Waiting is more than counting time.
It's finding meaning in anticipation.
Vladimir waits with purpose;
Estragon feels restless.
Consciousness in Relation to
Waiting:
Waiting for Godot explores deep
thoughts and feelings during waiting,
revealing insights about human
consciousness and existence.
Uncertainty and Waiting:
Vladimir and Estragon wait
uncertainty, pondering existence and
the unknown future, reflecting on the
significance of waiting.
Coping Mechanisms in Relation to
Waiting:
Waiting for Godot characters cope
differently: changing situations or
emotions, supporting each other amidst
uncertainty and stress."

15. ❖ Absurdity of Existence :
● They absurdly wait endlessly for an unchanging
situation to change when it is clear Godot will never
come.
● They occasionally discuss ending their wait by
hanging themselves or simply leaving, but absurdly,
they never take any action. Although they agree
there is "nothing to be done," they work absurdly
hard to fill the time while they wait.
The Themes of the play
❖ Purposelessness of Life:
● None of the characters in Waiting for Godot has a meaningful purpose. Waiting for
Godot might seem to give Vladimir and Estragon a purpose, but the fact that Godot
never arrives renders their waiting meaningless.

16. ❖ Folly of Seeking Meaning:
❖ Uncertainty of Time :
Time is a slippery thing in Waiting for
Godot. It seems to pass normally during the
period the characters are on the stage, with
predictable milestones, such as the sunset
and moonrise, although the characters are
sometimes confused about it.
(Alsharadgeh)
Although it is unclear who or what Godot represents, by waiting for him, Vladimir
and Estragon are clearly seeking some type of meaning outside themselves.

17. Symbols
❖ Leafless Tree:
The tree, near which Estragon and Vladimir meet, is
completely bare of leaves at the beginning of the play.
It represents the only organic element in the setting,
and it is dead or dormant. This tree portrays the world
as barren and lifeless, emphasizing the lack of purpose
and meaning the characters must contend with.
❖ Lucky's Baggage :
Lucky never puts down the items he carries, except when
it is necessary to fulfill one of Pozzo's orders. Then he
immediately picks them up again, even when he has not
been told to do so and there is no purpose in it. This
action echoes the human tendency of enslavement to
burdens, holding onto them even when doing so is
unnecessary.

18. ❖ Pozzo's Rope:
Pozzo's rope is the only rope that physically appears in the
play, and it represents the balance of power in the
relationship between Pozzo and Lucky. In Act 1, Pozzo
dominates Lucky with a rope half the length of the stage:
"Pozzo drives Lucky by means of a rope passed around his
neck," and Lucky is often the recipient of Pozzo's whip.
❖ Duality:
Duality is everywhere in Waiting for Godot. Every
character has a counterpart, and the paired characters
often complement and contrast each other. Vladimir and
Estragon seem nearly identical at first, but contrasting
characteristics show them to be essentially two different
parts of a whole. Pozzo and Lucky are opposites in
status, but they also share a mutual dependence.

19. ❖ Hats:
Hats are worn by Vladimir, Estragon,
Lucky, and Pozzo and are a vehicle for
the characters to show their identities.
For example, Lucky needs his hat in
order to think; Pozzo shows his power
over Lucky by taking his servant's hat
off. Vladimir, the "thinker" of the two
main characters, is fixated on his hat,
while Estragon, who is more realistic,
thinks first of his boots.
(Alsharadgeh)

20. The Searching for the Self
● When Alam Schneider, who was to direct the
first American production of ‘Waiting for
Godot’, asked Beckett who or what was meant
by Godot. Beckett answered “If I knew, I would
have said so in the play.”
● This statement allows for open interpretation of
the play according to individual perspectives.
● The subject of the play is not Godot but
waiting….
● Pozzo remarks within the dialogue regarding the mundane nature of existence:
“Have you not done tormenting me with your accursed time? . . . One day, is that not enough
for you, one day like any other day he went dumb, one day I went blind, one day we'll go
deaf, one day we were born, one day we'll die, the same day, the same second. They given
birth astride of a grave, the light gleams an instant then It's night once more.”

21. The Searching for the Self
● The routine of waiting for Godot stands for habit, which prevents us
from reaching the painful but fruitful awareness of the full reality of
being.
● The hope of salvation may be merely an evasion of the suffering
and anguish that spring from facing the reality of the human
condition.
● Here again we have the personal God, with his divine apathy, his
speechlessness (aphasia), and his lack of the capacity for terror or
amazement (athambia), who loves us dearly—with some exceptions, who
will be plunged into the torments of hell. In other words, God, who does not
communicate with us, cannot feel for us, and condemns us for reasons
unknown.

22. Existentialism in the play
● In the play, we also witness the recurring theme that suggests
there is nothing inherently meaningful in the world; characters
endeavor to create significance for themselves, striving to find
purpose in their lives.
● Existentialism is a philosophy that emphasizes individual
existence, freedom and choice. It is the view that humans
define their own meaning in life, and try to make rational
decisions despite existing in an irrational universe.
● It focuses on the question of human existence, and the feeling
that there is no purpose or explanation at the core of existence.
● It holds that, as there is no God or any other transcendent force,
the only way to counter this nothingness (and hence to find
meaning in life) is by embracing existence.

23. Myth of Sisyphus
● It is during that return, that pause, that
Sisyphus interests me. A face that toils so
close to stones is already stone itself! I see that
man going back down with a heavy yet
measured step toward the torment of which he
will never know the end. That hour like a
breathing-space which returns as surely as his
suffering, that is the hour of consciousness.
● At each of those moments when he leaves the
heights and gradually sinks toward the lairs of
the gods, he is superior to his fate. He is
stronger than his rock.
(Albert Camus)

24. ● In Samuel Beckett's play "Waiting for Godot,"
the characters Vladimir and Estragon similarly
find themselves in a situation that seems
absurd and devoid of meaning. They wait
endlessly for someone named Godot, who
never arrives.
● Like Sisyphus, they are caught in a cycle of
repetition and futility. However, much like
Camus' interpretation of Sisyphus finding
meaning in his consciousness during the
descent, Vladimir and Estragon find solace
and companionship in each other's company
during their wait.
● In their seemingly pointless existence, they
find moments of connection, reflection, and
even humor.

25. Circular Nature of the Play
ACT I:
● Vladimir and Estragon Alone
● Arrival of Pozzo and Lucky
Lucky's Speech
● Departure of Pozzo and Lucky
Vladimir and Estragon Alone
● Arrival of Boy Messenger
● Departure of Boy Messenger
Vladimir and Estragon Alone
● Vladimir and Estragon Alone
● Arrival of Pozzo and Lucky
● Departure of Pozzo and Lucky
Vladimir and Estragon Alone
● Arrival of Boy Messenger
● Departure of Boy Messenger
Vladimir and Estragon Alone
ACT II:

26. ● ACT 1:
ESTRAGON: Well, shall we go?
VLADIMIR: Yes, let's go.
(They do not move)
● The arrival of the boy and the news that Godot will not come.
● ACT II:
VLADIMIR: Well? Shall we go?
ESTRAGON: Yes, let's go.
(They do not move)
● Finally, and most important, there are the larger concepts: first, the
suffering of the tramps; second, their attempts, however futile, to pass
time; third, their attempts to part, and, ultimately, their incessant waiting
for Godot — all these make the two acts clearly repetitive, circular in
structure, and the fact that these repetitions are so obvious in the play is
Beckett's manner of breaking away from the traditional play and of
asserting the uniqueness of his own circular structure.
Circular Nature of the Play

27. Deconstruction Analysis of the play
● Therefore, the word Godot in the play signifies both theocentric as well
as anthropocentric messianic logocentrism, which may be noted is, the
privilege given to it as Jehovah of “The Old Testament”, his wrath
frightens, and like Messiah (Jesus Christ) of “The New Testament”, his
Second Coming will redeem the humankind.
● They have taken it for granted that it is a dominant source of redemption
and salvation. They attempt to discover the meaning, origin and truth
under the umbrella of the presupposed messianic logos Godot. (Akhter)
Metaphysics of presence and Messianic
Aporia
● The word Godot in the play is put in a structure capable of more or multiple meanings and its
immediate recognition are deferred or postponed by defamiliarization and ambiguity.
● The ambiguity and estrangement perturb the referentiality between Godot and its real entity, and its
ideal or symbolic presentation in the text, which brings Samuel Beckett very close to Derridean
rejection of the semantic singularity and fixity of meaning or hidden transcendental meaning.
(Akhter)

28. ● In the play “Waiting for Godot”, the characters are entangled within the
web of binary oppositions.
● These polar opposites are used in the text as highly applied line of
condemnation to the one, which is depreciated.
● The characters of the play resort to contrast and comparison, whenever
they confront an aporetic and manically offensive mode.
Deconstruction Analysis of the play
Binary Oppositions
● Therefore, the nameability is also one of the forms of Derridean delogocentrism because nominalism is
a logocentric phenomenon in language.
● We find in the play the boy who is messenger of Godot is unnamed; Vladimir, Estragon, Pozzo and
Lucky are unfamiliar type of names and even Godot is no name of any person.
● The title of one of Samuel Beckett’s plays is also “Unnameable” in which Unnameable is the central
character. (Akhter)
Delogocentrism

29. References:
Akhter, Javed. “(PDF) Waiting for Godot: A Deconstructive Study.” ResearchGate, 9 September 2023,
https://www.researchgate.net/publication/279847921_Waiting_for_Godot_A_Deconstructive_Study.
Accessed 15 February 2024.
Alsharadgeh, Dr. Samer Ziyad. “THE THEMES IN SAMUEL BECKETT'S PLAY WAITING FOR GODOT Dr.
Samer Ziyad Alsharadgeh English Language Center, Umm Al Qura University.” EA Journals, 2020,
https://www.eajournals.org/wp-content/uploads/The-themes-in-Samuel-Becketts-play-Waiting-for-
Godot.pdf. Accessed 18 February 2024.
Beckett, Samuel. Waiting for Godot: Tragicomedy in 2 Acts. Grove Press, 2011. Accessed 15 February 2024.