However other forms of comedy can be applied to Waiting For Godot such as the use of a Double Act which suggests that Waiting For Godot isn’t just a tragicomedy as it has clear aspects of the use of a double act to create comedy however, the use of this other form of comedy leads into the tragicomedy ideas of relieving the audience of tragedy through the use of the double act as a comedic element. An example of the clear use of a double act to create comedy is the way in which Vladimir and Estragon talk to each other most of the time in the form of short, snappy and fast-paced cross-talk similar to the “form of crosstalk derived from the music-hall double-act” in which the “straight man…is portrayed as reasonable and serious, while the other one-the funny man…is portrayed as funny, less educated or lessintelligent, silly, or unorthodox.” This type of...
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...ing the bare reality of human existence. It brings the question of who and what Godot is into the audiences mind.
Godot is the answer to the purpose of human existence which never actually gets answered as it is never revealed as to who or what Godot is; instead the tragic ending left by Vladimir and Estragon’s inability to take action upon their decision to “go”, as portrayed by the final stage direction “[They do not move.], creates the parting impact (or rather the purposeful lack thereof) of the bitterness of the reality of the human condition itself being hopeless and indefinitely unanswered. The final stage direction before the curtain is closed at the end of the play also creates a silence at the end of the play which draws upon the comedy of the hopelessness of the situation because ironically both the audience and the characters are in the same situation.
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