"As a comedy double take action, what they do is somewhat more engaging than they say”. To what extent do you accept this perspective of the dramatic function of Vladimir and Estragon in Waiting for Godot?

The fragmented, recurring and hidden use of conversation by the two derelict protagonists, Vladimir and Estragon, in Beckett's existentialist drama, ‘Waiting for Godot' is often not really deemed because significant or perhaps as participating as the action of the protagonists through this comedic play. As such, it is clear throughout the play the fact that repetitive action engages the audience through stress due to its inconclusive and constant nature that contributes to the meaninglessness from the play. This kind of offers the conclusion that in fact , what they claim and what they do are not in competition intended for significance, but are in fact dependently linked- one particular cannot can be found without the other.

The desolation and seclusion of placing, deeply black and existentialist discussion and nonprogressive plot inside Waiting for Godot provokes the audience to use the comic action of the personas as a relief. The leisure of the audience can be the reaction to a feeling of brilliance to Vladimir and Estragon as their action portrays these people as frustrated, lonely and bored, ‘Let's hang ourselves immediately! 'The incongruous hellish landscape, features and bowler hats are also the source of very much entertainment pertaining to an audience who are usually at the higher end in the hierarchy of social classes. The demolishment of individualism within the personas allows Beckett to represent them as the exemplification of recent man and humanity all together, ‘Let's contradict each other'. This purpose of Beckett's itself engages the audience as they deduce what Beckett notions are concerning society.

Beckett's compelling play lies firmly within the genre of the illogical and illogical Absurdist movie theater, or ‘theatre stripped bare', through his lack of pre-destined role, lack of conflict and unorthodox actions. This blackly humorous insufficient substance within Beckett's Absurdist drama mirrors thought in the audience regarding their own circumstance and allows them to generate comparisons among their lives and the lives of Beckett's double action. Beckett's choice of genre can be exemplified through Vladimir and Estragon's humorous swapping of their hats continuously with Lucky's, ‘How does it fit me? ' This inclusion of action by simply Beckett is the pivotal scene displaying the essence of absurdity through this play. The relentless character of the twice act's cap swapping scene is a sign of the conceptually cyclic repeating that their life comprises significantly of. This interrogative posed by Vladimir also actively exhibits Beckett's notion of how human nature obligates the need for lasting love, even in derelicts who have cannot talk effectively to each other. Sigmund Freud states that ‘there is a freedom in Absurdist theater when we give up the straitjacket of logic'. This conveys the reason why audiences at the time of Beckett's publishing of this play experienced very uncomfortable while watching this comedy. It had been published strongly after the traumatic Second World War and watched by a ‘godless' audience who was missing religious dimension. Waiting for Godot gave the audience a very stationary experience which shocked all of them out of complacency and forced them to query existentialistic ideas about this is, fragility and preciousness of life.

Another way in which Beckett engages the audience of this deeply thought provoking, yet not logical, play is by means of disappointment, ‘Let's move. They do not push. ' Beckett inverts the standardly approved hierarchy by simply privileging non-sense over perception within the action of his two protagonists. The repetitive nature of the action from the slapstick funny constantly frustrates the audience mainly because it provides the play with elements of dilemma and disbelief. Dr Richard Langley defines a comedy as being ‘that which explains the margins, that which tosses you beyond the comfort of typical definitions'. This emphatically illustrates the action of Beckett's double work within ‘Waiting for Godot'. The audience are frustrated by the pair's actions because it destroys...



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