In the manner of every endeavour on the stage, even the most modest, it is a painful venture and an unsure one. A pair of battered shoes is the first centre of focus – Estragon is seen trying to remove his shoes. In the world of Godot, even the minimum action is impossible. The waiting also becomes useless as Godot does not arrive in spite of such a long monotonous waiting. In ‘ Waiting for Godot‘ there is nothing significant except waiting and waiting. Either nothing or very little happens throughout the whole play.
The most significant feature of an absurd play is the lack of action. It took more time than other plays to draw their attention from the surface of these stagnant waters to the life of their microorganism. After the first performance of ‘ Waiting for Godot‘ (5th January 1953) critics were convinced that Beckett had contrived an absolute negation of human existence. The characters are insubstantial but become significant for the symbols they represent. The theatre of absurd prefers existential things, and, therefore, occasionally it woos Nihilism. Nothing significant happens on the stage. It is like the naturalist drama of Ibsen and G. The playwright tries to communicate like the French dramatist the meaninglessness of life through dialogues. “ Waiting for Godot” is clearly influenced by the typical qualities of the modern French drama.
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