Stage Instructions In Waiting For Godot And The Lion And The Jewel
What is the purpose of a playwright using stage directions? Is it used to develop a specific theme? Is it used to build the mood and atmosphere of the play? And most importantly, are stage directions used help move the play forward? These are some of the most intricate questions that playwrights need to consider when implementing stage directions. Stage directions are specific instructions in a text that indicate movement, action, position, tone of an actor or sound effects. Stage directions played a key role in the plays, “Waiting for Godot” and “The Lion and the Jewel”. The play “Waiting for Godot” was written by Samuel Beckett and was first performed in 1955. On the other hand, “The Lion and the Jewel” was written by Wole Soyinka and was published in 1962. By comparing both plays, it can be seen that both Beckett and Soyinka use actions and gestures created through stage directions to a great extent as they both use it to develop mood and atmosphere, setting, and theme of their respective plays. In both “Waiting for Godot” and “The Lion and the Jewel”, Beckett and Soyinka use stage directions to emphasize the mood and atmosphere of the play. In “Waiting for Godot”, Beckett uses prolonged actions as well as tense stage directions to develop a dismayed mood and atmosphere. This despaired and dismayed mood and atmosphere are created by various stage directions such as, “[Silence.]” (Beckett, pg. 4), “[Pause.]” (Beckett, pg. 7), “[despairingly.]” (Beckett, pg. 39).
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