Hugo Marsans Classic Fate & Modern Plight Ms. Fan Role of Fate Hamlet, Waiting for Godot and Rosencrantz & Guildenstern Are Dead all share fate as a recurring an important theme in the developing story plot. In Hamlet, Waiting for Godot and Rosencrantz & Guildenstern Are Dead, the characters have no free will as they can only do what the author directs. The plays are different because in Hamlet, a sequence of events set off by fate’s force determines the character’s destiny, in Waiting for Godot, Vladimir and Estragon realize the loop will keep repeating itself, and in Rosencrantz & Guildenstern Are Dead, because Ros and Guil realize they have no control over their actions. In Hamlet, Shakespeare makes use of fate as a tool to steer
In addition to this, it is known at the end of the play that this play has not really got an end: the story would continue the next day and it would be the same as the previous ones. It is important to mention that this play is the most relevant play of the Theatre of the Absurd, which was a movement that emerged after the Second World War. This kind of theatre reflects weird and incoherent situations which seems that they do not have sense, but behind them it could have a secret metaphor that has to do with existentialism. Existentialism is the movement in which the Theatre of the Absurd was based, and it is related to the pointless life, the terms of life and death, the absurdity of the man being in contact with the world and the resignation. The language used in this play is colloquial, and they even get to use expressions that are not usually used in theatre because of their vulgarity.
It “flaunts the absurd” through twisted random occurrences with no resolution in order to stimulate, tease, puzzle, and disturb the audience, leading them to question humanity’s existence and the world’s absurdity. Relationships are haphazard and blurred and stark extremes are juxtaposed(ie. enemies who love each other). Appropriately, even the genre is an oxymoron: tragicomedy, resulting in moods that rapidly swing from one end of the spectrum to the other. Alienation plays also aimed to stimulate, tease, puzzle, and disturb the audience, much like the absurdist play, in order to get the audience to adopt opinions of society.
In the tragic play Waiting for Godot, Samuel Beckett uses juxtaposition to develop a comparison between two contrasting concepts and characters such as the themes of tragedy and comedy as well as the characters Vladimir, Estragon, Pozzo, and Lucky. This comparison supports and controls the pacing of the play, as well as accentuating the essential elements in human conditions during 1948, such as, the difficulty in establishing any sort of close relations between people and also the kind of status and situation people were in, mentally and physically during that time as WW2 just ended, and also allowed to readers to have a wider range of perspectives by not making any definite conclusions and offering an opened ending in act 1. Throughout the act 1 of Waiting
They are all pressed against the classroom window, hoping for a glimpse of it. Margot is standing away from the crowd. Of course, one of the boys single her out. “Get away” The boy gave her another push. “What’re you waiting for?” “Well, don 't wait around here!” the boy cried savagely “You won’t see nothing!” As they all started to turn against her, one of the children had an idea.
Absurdism is similar to avant-garde in that the playwrights were not as concerned with plot and characters and logical continuity as they were with eliciting reactions. This is not to say that there are no plots or sense to be found in either of these genres, rather that this is simply not the primary
In Waiting for Godot the focus is on the character of Godot, who is a representation of God. He is never revealed to the other characters, and in turn, the readers. Estragon even says at one point in the play that “Personally I wouldn’t even know him if I saw him.” (Beckett 15). When it comes to traditional spirituality, there is always a god or higher being to believe in and in most cases believers never see or meet this higher being face-to-face. Readers of the bible see this happening with the God of Christianity in the Book of John when it states, “No one has ever seen God.” (John 1:18) In turn, this relates back to Godot since none
Therefore, the theatre of absurd is related to existentialism, which is a philosophical movement postulating that human essence precedes existence and that man and other things are nothing but their own choices and freedom. Therefore, man takes responsibility as a result of his freedom of choice. Endgame is an expression or method through which individuals exist in seclusion and at the same time they have a yen for the past. There are some resemblances between Beckett’s play and existentialism because his characters displaying the existentialist man who is looking for becoming an authentic one ( Taniv).Furthermore, there is an essential amalgamation between existentialism and Beckett’s thoughts through highlighting absurdity. The existentialist deduces that life is ridiculous, disorganized and senseless
He claimed if the “theatre is the double of life, then life is the double of theatre.” His theatre was to mirror not that of everyday life, but the “reality of the extraordinary.” This ‘extraordinary’ was a reality not contaminated by ideas of morality and culture, but a higher form of reality. Artaud’s theatre aimed to appeal to, and release the emotions of, the audience, so mood played an important part in Theatre of Cruelty performances. By bombarding the audience’s senses, they underwent an emotional release, or