Postmodern Theatre: Beckett's Godot

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Beckett’s Waiting For Godot: The Post-Modern Perspective Samuel Beckett was born near Dublin, Ireland, on the April 13, 1906. During his school years he was more interested in athletics than in academics, but he became excited about the study of French and Italian near the middle of his university career at Trinity College, Dublin, and graduated with honours in December, 1927. After graduation Beckett attempted to teach school but found teaching very unpleasant. He then sought to make his living as a writer but gained only modest success with his poetry, criticism, and prose during the 1930s and 1940s. However, at the end of 1948, as a diversion from his work on a novel, Beckett wrote to Waiting for Godot in less than four months and the tremendous impact of this and subsequent plays in the 1950s turned him into an international celebrity as a playwright (Galens 269). During World War II, Beckett lived in southern France and was active in the French Resistance, an underground movement fighting against the German occupation of France. Some have seen Waiting for Godot as a reflection on this period of Beckett's life. Beckett died of respiratory failure in Paris on December 22, 1989, and is considered by many as one of the most innovative, daring, and revolutionary dramatists of the twentieth century (Galens 270). Waiting for Godot was first written in French version in 1949 and then translated into English in 1954 by its Irish writer. The play affected audiences with its bare set, unusual dialogue, slight plot, and bizarre characters. There are five characters (Vladimir, Estragon, Pozzo, Lucky, a boy or messenger) in the play. The two down-and-out men, Vladimir and Estragon, who wait expectantly to visit mysterious Godot, have nothing significant to do with their lives. While waiting at a tree in the middle of nowhere they do every possible thing, even

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