giovedì 16 dicembre 2010

Waiting for God(?)ot

In order to confront a play like “Waiting for Godot” it is necessary to always refer to the canons of the Theatre of the Absurd. It’s not possible to express a clear and acceptable judgement about this play, so rich of possible symbols, so vacuum of reality, so unintelligible. Not being able to give judgements, in order to “enter” the Absurd, we’ll have to study any details of the drama: the scenography, the secondary characters, the figure of Godot and the main character.
The scenography, composed just by a tree, a willow and the moon, is foundamental to enter Beckett’s world, a vacuum world, unstable. This bleak setting becomes the surreal world, for this Giustificareason vacuum, where Vladimir and Estragon, two characters, live their life or death indeed. The Beckett’s characters are exiled and isolated from reality, they live in a parallel world.
The fact that the moon, satellite which doesn’t spark for its own light and, therefore, produces a weak and evanescent light, is the only illumination for the “landscape” improves that sense of absurdity, instability and unreality, which permeates all Beckett’s drama. The collaboration, which the author with the sculptor and painter Giacometti in scenary, has a great importance. Giacometti in all his works confronted many of the themes treated by Beckett: the theme of exile and the most complete incomprehensibility of the reality are the main ones. A sentence of the author permit us to understand better the meaning of scenography of “waiting for Godot” and even Beckett’s personality: “And I still know that the more I approach things, the more I move away. Is a never ending quest”.
Finally, the tree has a more technical function: while in the first act is completely bare, in the second one it has four or five leaves. This, together with Pozzo and Lucky’s entrance, characters, whom we analyze soon after, permits us to notice a change of time, which otherwise would seem illusorily absent.

Article envoyé par P.C.O

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