Like some of the greatest playwrights of the 20th Century, Samuel Beckett didn't believe in spelling out what he had in mind relative to the details of performing his work. Arguably, his greatest play is "Waiting for Godot" - a work that is generally regarded as a masterpiece and which seems to have a particularly strong effect on inmates when performed in prisons.
When done badly (as it often is!) Godot has a soporific effect on anyone unfortunate enough to sit through it. To do the play justice, the director and actors must morph into Beckett's world and into the interior of his characters in order to figure out just what the hell's going on!
Here are a couple of clues. Beckett had a brilliant sense of shabby humour and regarded vaudeville as high art. He believed in creating pathos and tragedy with characters who are, largely, clowns. Extended Emmett Kelly clowns! Although not in whiteface. The characters are tragic and also HUGELY funny. Action is overripe and intense, and situations marvelously ludicrous.
Here's the thing. He writes extended stage directions and NEVER ONCE gives the actor instructions on how to play the damned things.
So here's the challenge. Below, I've inserted the opening of Act II of "Waiting for Godot", just as Beckett wrote it. So dear friend, take me through it beat by beat and connect it all up - keeping in mind everything I've outlined for you in the opening paragraphs. I'll check back in in a day or two. Bon Chance!
As always, questions, comments are always welcome!
Waiting for Godot
ACT II
Next day. Same time.
Same place
Estragon's boots front center, heels together, toes splayed.
Lucky's hat at same place.
The tree has four or five leaves.
Enter Vladimir agitatedly. He halts and looks long at the tree, then suddenly begins to move feverishly about the stage.
He halts before the boots, picks one up, examines it, sniffs it, manifests disgust, puts it back carefully.
Comes and goes. Halts extreme right and gazes into distance off, shading his eyes with his hand.
Comes and goes. Halts extreme left, as before. Comes and goes.
Halts suddenly and begins to sing loudly.
VLADIMIR:
A dog came in–
(Having begun too high he stops, clears his throat, resumes:)
A dog came in the kitchen
And stole a crust of bread.
Then cook up with a ladle
And beat him till he was dead.
Then all the dogs came running
And dug the dog a tomb–
(He stops, broods, resumes:)
Then all the dogs came running
And dug the dog a tomb
And wrote upon the tombstone
For the eyes of dogs to come:
A dog came in the kitchen
And stole a crust of bread.
Then cook up with a ladle
And beat him till he was dead.
Then all the dogs came running
And dug the dog a tomb–
(He stops, broods, resumes:)
Then all the dogs came running
And dug the dog a tomb–
(He stops, broods. Softly.)
And dug the dog a tomb . . .
He remains a moment silent and motionless, then begins to move feverishly about the stage.
He halts before the tree, comes and goes, before the boots, comes and goes, halts extreme right, gazes into distance, extreme left, gazes into distance.
Enter Estragon right, barefoot, head bowed. He slowly crosses the stage. Vladimir turns and sees him.
