Waiting for Godot was written in French in 1949. In the first scene, two men, Vladimir and Estragon, wait on a lonely country road for an appointment with Godot. After a while Pozzo enters, leading Lucky on a rope. They talk. Godot fails to arrive. The second scene is a mirror image of the first. The Irish critic Vivian Mercier called Waiting for Godot a play in which 'nothing happens, twice'.
Waiting for Godot
The Theatre of the Absurd
Main Features of the Theatre of the Absurd
The Theatre of the Absurd (French: Théâtre de l'Absurde) is a designation for particular plays of absurdist fiction, written by a number of primarily European playwrights in the late 1940s, 1950s, and 1960s, as well as to the style of theatre which has evolved from their work. Their work expressed the belief that, in a godless universe, human existence has no meaning or purpose and therefore all communication breaks down. Logical construction and argument gives way to irrational and illogical speech and to its ultimate conclusion, silence. Critic Martin Esslin coined the term "Theatre of the Absurd", relating these plays based on a broad theme of absurdity, roughly similar to the way Albert Camus uses the term. The Absurd in these plays takes the form of man’s reaction to a world apparently without meaning or man as a puppet controlled or menaced by an invisible outside force. Though the term is applied to a wide range of plays, some characteristics coincide in many of the plays: broad comedy, often similar to Vaudeville, mixed with horrific or tragic images; characters caught in hopeless situations forced to do repetitive or meaningless actions; dialogue full of clichés, wordplay, and nonsense; plots that are cyclical or absurdly expansive; either a parody or dismissal of realism and the concept of the "well-made play". Playwrights commonly associated with the Theatre of the Absurd include Samuel Beckett, Eugène Ionesco, Jean Genet, Harold Pinter, Tom Stoppard, Friedrich Dürrenmatt, Fernando Arrabal, and Edward Albee.
Come and Go is a short play (described as a "dramaticule" on its title page) by Samuel Beckett. It was written in English in January 1965 and first performed (in German) at the Schillertheater, Berlin on 14 January 1966. Its English language premiere was at the Peacock Theatre, Dublin on 28 February 1966, and its British premiere was at the Royal Festival Hall in London on 9 December 1968. It was written for and dedicated to the publisher John Calder.
Some critics consider this one of Beckett's most "perfect" plays: Beckett agonized over each individual line until they exactly matched his creative vision. The play varies between "121 and 127 words" in length, depending on the translation (his notes are significantly longer than the actual play), and as such is rarely performed on its own.