![]() There are several times in act two when Estragon says he’s going to leave-to stop waiting for Godot, but he never leaves, although Vladimir doesn’t do anything to stop him. The two are deeply connected to one another. Even though his friend is physically present, he feels lonely whilst he’s sleeping. Vladimir cannot stand to be lonely to the point that he will not allow his friend to sleep. ![]() I was asleep! (Despairingly.) Why will you never let me sleep? Estragon: (restored to the horror of his situation). Vladimir: Gogo! … Gogo! … GOGO! Estragon wakes with a start. There is a moment when Estragon is sleeping and Vladimir yells his name to wake him (“Gogo” is Vladimir’s nickname for Estragon): Without Estragon’s presence, Vladimir feels lonely, and it leaves him in despair. We see that without Estragon there, Vladimir felt lonely and sad, and now that Estragon is present again, Vladimir is joyful and feels the need to celebrate this joyous occasion. I thought you were gone forever… Together at last! We’ll have to celebrate this” (7). At the beginning of the play, we read Vladimir saying, “I’m glad to see you back. Vladimir depends on Estragon for the same thing. This signifies the dependence Estragon has on Vladimir for not feeling alone and being alone. In act one, Estragon says coldly, “There are times when I wonder if it wouldn’t be better for us to part,” and Vladimir responds, “You wouldn’t go far” (Beckett, 11). The Formalist Perspectiveĭuring the multiple conversations between Vladimir and Estragon and the interference of Pozzo and Lucky, they exhibit their dependence on one another. Vladimir and Estragon illustrate this for the average human being, and Pozzo and Lucky illustrate how this takes place in history. ![]() Waiting for Godot portrays the absurdity of codependency that too much interdependence can lead to. In historicism, the focus will be on the human interdependence Beckett is mimicking from the history of his country, Ireland. In formalism, the focus will be on the text and what the text suggests of human interdependence and how Vladimir and Estragon are similar to us in a variety of ways. To fathom the portrayal Beckett is attempting to transfer, we must analyse it using formalism and historicism. Whilst Vladimir and Estragon’s conversations and Pozzo and Lucky’s interference take place, Beckett portrays the absurdity of human codependency, particularly how, if not properly guided, healthy interdependence can lead to codependency. Pozzo is an unknown individual and Lucky is his slave. During their alienating wait, they engage in conversation throughout the entire play, as well as two other characters interfering twice within the two acts, Pozzo and Lucky. In Waiting for Godot, there are two men-Vladimir and Estragon-who are simply waiting for a man named Godot. In the Theatre of the Absurd, there is no knowledge given to the situation the story begins with. The use of the genre uses absurd, or bizarre, plots and settings. Theatre of the Absurd primarily arose after World War II and mostly flourished in Paris. Samuel Beckett’s Waiting for Godot is a play in two acts written in the genre called Theatre of the Absurd.
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