Theme Of Existentialism In Waiting For Godot

The absurdity of Waiting for Godot and its outward lack of plot structure and character development begs the audience to question whether there is any meaning to it. However, by delving deeper and exploring the notions of existentialism that the play introduces, Waiting for Godot teases the audience with a mini-existential crisis, pushing them to question whether there is any meaning to life all, which this play exaggerates; and this question, which may not have a correct answer or an answer at all, is pivotal to the human experience. Through an excerpt performance of the work of the absurd, I hope to communicate the philosophical implications of the conversations and actions that occur on stage, whether there is a meaning to life, and if so, what is it, and if not, what does that mean? These questions of existence

To achieve this level of subjectivity, while still presenting and amplifying the greater implications of the play, the performance will take place on an arena, due to its isolated and circular nature that is conducive to the fast paced conversations that take place within the play. However, the deeper meaning of the arena’s characteristics stem from the work’s circular plot structure and Vladimir and Estragons’ isolation. The characters’ seemingly trapped natures, while unable to escape their fate as they wait endlessly for Godot, are implicitly and subconsciously amplified by the stage’s physical characteristics.

Vivian Mercier, in a 1956 copy of the Irish Times, wrote that Samuel Beckett had "written a play in which nothing happens, twice". In this play, Vladimir and Estragon, respectively called Didi and Gogo, are waiting for a man named Godot, however, they are unsure about the particulars of their upcoming meeting: whether they are in the right place, if it is the right day, or if Godot is even coming at all. While waiting for Godot, the two have random conversations, perform mundane activities, and and