这是一部戏剧的独特丰富性等待戈多它为许多不同的观点打开了远景。它对哲学，宗教和心理学的解释开放，但最重要的是，这是一首关于时间，蔓延和存在的神秘性，变化和稳定，必要性和荒谬的悖论。
- 马丁·埃斯林（Martin Esslin），荒谬的剧院
两个流浪者帽子帽子，一条荒凉的乡间小路，一棵裸露的树 - 一棵彻底的新现代戏剧的标志性图像，于1953年1月5日在巴黎的Théâtredede Babylone面对观众，并于1953年首映。加入戈多特（（等待戈多）。在1948年至49年的冬季写作，塞缪尔·贝克特（Samuel Beckett）需要四年才能制作出来。很容易理解原因。正如该剧的第一位导演罗杰·布林（Roger Blin）评论说：“想象一下一部不包含动作的戏，但角色无话可说。”主要人物 - 绰号迪迪和gogo的vladimir和estragon正在等待戈多的到来，但我们从不了解为什么，也不是谁，因为他从不到来。流浪汉经常说“走吧”，但它们从不动。我们永远不会得知道路通道的地方，也没有看到流浪汉占领它。该剧没有期望，也什么也没有解决。取而代之的是，它引爆了我们希望在游戏中找到的公认的戏剧性原则：连贯的动作，动机和冲突序列，导致解决方案。它代替了悬念的核心戏剧性要素（等待），并迫使观众体验弗拉基米尔和埃斯特拉贡的同样的期望和不确定性，同时提出了有关生存本身的性质和目的的基本问题，这是我们自己的等待元素版本。 If modern drama originates in the 19th century with Henrik Ibsen and Anton Chekhov, Beckett, with等待戈多，extends the implications of their innovations into a radical kind of theatrical experience and method. The theatrical and existential vision of等待戈多将其作为20世纪的分水岭，作为T. S. Eliot的爆炸性，开创性和有影响力的作品荒地is for modern poetry and James Joyce’s尤利西斯用于现代小说。从最初的令人困惑的首映式开始等待戈多据估计，在未来五年中，将会看到超过一百万的人，并最终成为全球最常制作的现代戏剧，以“贝克特般的景观”进入集体意识，并确立了虚幻的Godot作为速记现代徒劳和焦虑的图像。
像his fellow countryman and mentor Joyce, Beckett oriented himself in exile from his native Ireland, but unlike Joyce, who managed to remain relatively safe on the fringes of a modern world spinning out of control, Beckett was very much plunged into the maelstrom. He was born in Foxrock, a respectable suburb of Dublin, to Protestant Anglo-Irish parents. His education at Portora Royal School (where Oscar Wilde had been a student) and at Trinity College, Dublin, where he received his degree in French and Italian, pointed him toward a distinguished academic career. In 1928 Beckett won an exchange lectureship at L’École normale supérieure in Paris, where he met Joyce and assisted him in his labors onFinnegans唤醒。贝克特（Beckett）担任法语讲师，回到了三位一体，但发现教学“严峻”。他会说：“我无法忍受教别人我不认识的人的荒谬性。”1932年，他永久离开了爱尔兰，除了对家人短暂拜访。第二次世界大战爆发贝克特结束了访问家，然后回到巴黎，后来说：“我更喜欢法国在战争中，而不是和平的爱尔兰。”在战争期间，贝克特加入了法国在巴黎的抵抗运动，当他的团队被一名双重代理商渗透并出卖给盖世太保时，他被迫逃到1942年的法国，在那里他担任农场劳动者，直到战争结束。
In 1946 Beckett struggled to restart his interrupted and stalled literary career that had produced a critical study of Marcel Proust, a collection of short stories (比踢更多的刺），一系列诗（回声的骨头）和两本小说（墨菲和瓦）。转折点是在拜访他的母亲在Foxrock的过程中。后来，他将顿悟转移给他一个新的主题和方法，以在杜恩·洛格海尔（DúnLaoghaire克拉普的最后一个磁带：“在精神上，直到三月份，在码头结束时，在狂风的夜晚，直到令人难忘的夜晚，在狂风的结束时，从未被遗忘的那一年，直到我突然看到了整个东西。终于的愿景。。。。那时我突然看到的是这个。。。我一直在努力努力的黑暗实际上是我最大的。”克拉普（Krapp）的启示突破了，但贝克特（Beckett）本人完成了他的判决，说“我一直在努力保持下来的黑暗”是“我最珍贵的盟友”。 As Beckett biographer James Knowlson summarizes, Beckett’s insight meant that he would “draw henceforward on his own inner world for his subjects; outside reality would be refracted through the filter of his own imagination; inner desires and needs would be allowed a much greater freedom of expression; rational contradictions would be allowed in; and the imagination would be allowed to create alternative worlds to those of conventional reality.” Beckett would thereby find the way to bypass the particular to deal directly with the universal. His fiction and plays would not be social or psychological but onto-logical. To mine those inner recesses, Beckett would reverse the centrifugal direction of most writers to contain and comprehend the world for the centripetal, of reduction down to essentials. Beckett, who had assisted Joyce in the endlessly proliferatingFinnegans Wake，会推翻他的导师的方法。贝克特观察到：“我意识到，乔伊斯已经尽可能地了解了更多的方向，可以控制自己的材料。”“他一直在加上它；您只需要查看他的证据就可以看到这一点。我意识到自己的方式是贫穷，缺乏知识和带走，减去而不是增加。”这种认识需要一种贝克特在法语中的极简主义和作品中发现的演讲手段，他发现“没有风格更容易编写”。贝克特仅限于声音及其意识，将消除时间和地点特殊性的常规叙事要求，并为角色的精心背景以及复杂的原因和效果序列形成他的情节。在贝克特的工作中，契kh夫围绕他的戏剧和故事的徒劳和停滞气氛变得普遍。世界耗尽了意义。人际关系减少了希望和绝望之间的紧张关系，意识本身是有问题的。 Beckett’s protagonists, who lack the possibility of significant action, are paralyzed or forced to repeat an unchanging condition. Beckett compresses his language and situations down to the level of elemental forces without the possibility of escaping from the predicament of the basic absurdity of existence.
贝克特在顿悟之后回到巴黎，开始了他所谓的“房间中的攻城”：他持续，最多的写作时期，五年来产生了戏剧Eleutheria，等待戈多， 和结束游戏;小说三部曲莫洛伊，马龙去世，和不愿意的；和标题下发表的短篇小说故事和文字一无所有。贝克特说等待戈多began “as a relaxation, to get away from the awful prose I was writing at the time.” It gave dramatic form to the intense interior explorations of his fiction. The play’s setting is nonspecific but symbolically suggestive of the modern wasteland as the play’s protagonists, Vladimir and Estragon, engage in chatter derived equally from metaphysics and the music hall while they await the arrival of Godot, who never comes. What Godot represents (Beckett remarked: “If I knew, I would have said so in the play,” and “If by Godot I had meant God, I would have said God, not Godot.”) is far less important than the defining condition of fruitless and pointless waiting that the play dramatizes. Beckett explores on stage the implications of a world in which nothing happens, in which a desired revelation and meaningful resolution are endlessly deferred. At art’s core is a fundamental ordering of the world, but Beckett’s art is based on the world’s ultimate incomprehensibility. “I think anyone nowadays,” Beckett once said, “who pays the slightest attention to his own experience finds it the experience of a non-knower, a non-caner.” By powerfully staging radical uncertainty and the absurdity of futile waiting, Godot epitomizes the operating assumptions of the theater of the absurd.
最重复的批评等待戈多爱尔兰评论家维维安·梅西尔（Vivian Mercier）的简洁摘要中表达了：“什么都没发生，两次。”该剧，副标题两种行为的悲剧性疾病，用马丁·埃斯林（Martin Esslin）的话说，“讲一个故事；它探索了一个静态状况”，这是由埃斯特拉贡（Estragon）的话封装的：“什么也没发生，没人来，没人去，这很糟糕。”在第1幕中，迪迪（Didi）和戈戈（Gogo）等待着戈多特（Godot）的预期到来，他们对他们进行了“一种祈祷”，这是戈多特同意考虑的未指定的事物的“模糊恳求”。但是，毫无疑问，这是会议的正确位置还是一天。花时间考虑悬挂自己（“它会给我们勃起”），但是唯一可用的树似乎太虚弱了，无法握住它们，他们不能同意谁应该先走。另一对到达：幸运的是，他的脖子上有一条绳子，装满了袋子，野餐篮，凳子和大衣，被霸名。他们停下来为Pozzo吃饭，他问Gogo和Didi是否希望被Lucky的“思维”娱乐，事实证明这是一个漫长的荒谬独白。Pozzo和Lucky离开后，一个男孩进入，将弗拉基米尔作为艾伯特先生说，并传达了戈多先生不会今天晚上来的信息，但明天肯定会来。男孩退出后，弗拉基米尔（Vladimir）和埃斯特拉贡（Estragon）也决定离开，但没有采取任何行动。
第2幕显然是在第二天和地点进行的，尽管这棵树现在有四到五片叶子。弗拉基米尔（Vladimir）和埃斯特拉贡（Estragon）再次开始他们的守夜活动，通过交换问题，矛盾，侮辱和帽子，并假装自己是pozzo和Lucky，直到原始人到达。但是，Pozzo现在盲目地陷入了幸运，将他们俩击倒。在辩论他们是否应该帮助他们站起来之后，迪迪和gogo也发现自己在地面上，无法崛起，弗拉基米尔宣布：“我们已经到了。。。我们是男人。”最终，他们恢复了立足点，支持他们之间的pozzo。Pozzo对他们以前的遭遇没有回忆，当被问及他和幸运的时候，当他们跌倒时做什么，没有人可以帮助他们，Pozzo说：“我们等到我们可以起床。然后我们继续。” When Didi asks if Lucky can “think” again for them before they leave, Pozzo reveals that Lucky is now “dumb”—“he can’t even groan.” Vladimir wonders about their transformation since yesterday, but Pozzo insists time is a meaningless concept:
您没有用收费时间折磨我吗？可恶！什么时候！什么时候！One day, is that not enough for you, one day he went dumb, one day I went blind, one day we’ll go deaf, one day we were born, one day we shall die, the same day, the same second, is that not enough for you? They give birth astride of a grave, the light gleams an instant, then it’s night once more.
After Pozzo and Lucky exit (with the sound of their falling again offstage), the boy arrives to announce that Godot will not be coming this evening but will be there without fail tomorrow. Although he appears to be the same boy as yesterday, he denies this and runs off when a frustrated Vladimir lunges at him. Estragon proposes going far away, but Vladimir reminds him that they must wait for Godot to come tomorrow. They return to the idea of hanging them-selves, but when they try to use Estragon’s belt cord, it breaks, and Estragon’s pants fall down. They decide to bring a stronger rope the next day, and “We’ll hang ourselves tomorrow. (暂停。）除非戈多来了。”戏剧得出结论：
弗拉基米尔：好吗？我们要去吗？
Estragon：是的，走吧。
他们不动。
窗帘。
Beckett generates meaning in等待戈多通过图像，重复和对立。弗拉基米尔（Vladimir）和埃斯特拉贡（Estragon）在他们的投球帽和pratfalls中，是查理·卓别林（Charlie Chaplin）的流浪汉的版本，悲惨的小丑在绝望和希望之间充满活力。ACT 2重复ACT 1的作用顺序，但加深了荒谬和意义等待戈多。Unlike Pozzo and Lucky, whose relationship parodies the master-slave dynamic and a sadomasochistic conception of existence in which death is the only outcome of birth, Vladimir and Estragon complement each other and live in hope for Godot’s arrival and the revelation and resolution it implies (“Tonight perhaps we shall sleep in his place, in the warmth, our bellies full, on the straw. It is worth waiting for that, is it not?”). The hope that Godot might come, that purpose is possible even in the face of almost certain disappointment, is their sustaining illusion and the play’s ultimate comic affirmation. As Vladimir explains, “What are we doing here,那is the question. And we are blessed in this, that we happen to know the answer. Yes, in this immense confusion one thing alone is clear. We are Waiting for Godot to come. . . . We have kept our appointment and that’s an end to that. We are not saints, but we have kept our appointment. How many people can boast as much?” To which Estragon replies: “Billions.” By the comic calculus of等待戈多继续相信缺乏信仰的可能性是真正的英雄主义，我们最接近人类的实现。贝克特的戏剧清楚地表明，无论是在行为3的风暴现场，都必须剥夺阻止我们面对人类生存的核心真理的幻觉李尔王当裸露的人被揭露时或在“乡村道路上”。一颗树。晚上。”
罗伯特·弗罗斯特（Robert Frost）的分析
分析詹姆斯·乔伊斯的流亡者
塞缪尔·贝克特（Samuel Beckett）的最后游戏的分析
Bertolt Brecht的戏剧分析
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