They notice a sore on his neck and begin to ask him a question, but Pizza tells them to leave him alone. Vladimir suddenly explodes with anger at Pizza's treatment of Lucky, but then seems embarrassed at his outburst.
Pizza begins to answer the question, after much preparation involving his vaporizer spray, but gives a convoluted and contradictory response. Lucky begins to cry, and Pizza hands Estrogen a handkerchief to wipe away his tears.
Pizza calms down, but he realizes that he has lost his pipe and begins to get upset again. While Estrogen laughs at Pizza, Vladimir exits, apparently to go to the bathroom.
Vladimir asks him to tell Lucky to think, but Pizza says that he cannot think without his hat. Vladimir puts Lucky's hat on his head, and he begins to think aloud, spouting a long stream of words and phrases that amount to gibberish.
As he goes on, the other three suffer more and more and finally throw themselves on him and seize his hat to make him stop. Pizza tramples on the hat, and the men help Lucky up and give him all the bags.
This same trope will recur several times in a row at the beginning of the second act, always with Estrogen repeating himself. This illustrates Vladimir's attempt to protect and take care of Estrogen.
However, when Pizza gets upset and says that he cannot bear it any longer, Vladimir quickly transfers his anger to Lucky, whom he reproaches for mistreating his master after so many years. This illustrates how Vladimir's opinion can be easily swayed by a change in circumstances.
Pizza moves on while Vladimir and Estrogen remain fixed even as the curtain falls at the end of each act. Martin ESSTIN wrote a book titled “Theater of the Absurd” that was published in year 1961.
It dealt with the dramatists who belonged to a movement called “Absurd Theater” though it was not regular. Samuel Beckett was one of those dramatists who had the largest contribution in “Absurd Theater”.
There was no regular movement regarding theater of absurd rather it was a group of people who wrote plays without following the conventional rules. In simple words, performance of plays that were written by group of unconventional writers was called theater of absurd.
No story or plot No characterization and motivation Neither a proper beginning nor ending Unexplained themes Imitation of dreams or nightmares instead of nature Useless dialogues “ Waiting for Godot fulfills every requirement of an absurd play.
It has no story, no characterization, no beginning nor any end, unexplained themes, imitation of dreams and nightmares and above all it contains useless dialogues. They stand still in front of audience and do nothing except passing the ball.
In these ways, Waiting for Godot fulfills first requirement of an absurd play. Hence, lack of characterization proves that Waiting of Godot is a play of absurd theater.
For instance, when characters come on stage they reveal their purpose. Fulfillment of this requirement also proves that Waiting for Godot is an absurd play.
Incoherent babbling is also important ingredient of theater of absurd as mentioned by ESSTIN. Whole play is based on delivery of dialogues but most of them have no apparent meanings.
Action looses its importance without worthy dialogues. In case of Waiting for Godot ”, no action has been presented, therefore, dialogues are boring, and they are written just to pass the ball.
Unclear themes also make Waiting for Godot a play of absurd theater. There is an effect of alienation in the play with respect to themes.
He wrote this play to break the rules of traditional dramatists. Samuel Beckett had the largest contribution in “Absurd Theater”.
Waiting for Godot is an enigmatic but very significant play in the absurdist tradition. Becket's existential play centers around the characters Vladimir and Estrogen who are conversing while waiting beneath a tree for someone (or something) named Godot.
Another man called Pizza wanders up and talks with them briefly before venturing off to sell his enslaved person Lucky. Though Vladimir and Estrogen then say they will leave, they do not move as the curtain falls.
Time moves in cycles in the play, with the same events recurring over and over again. Time also has real significance: Though the characters now exist in a never-ending loop, at some point in the past things were different.
One of the central themes of Waiting for Godot is the meaninglessness of life. Even as the characters insist on staying where they are and doing what they do, they acknowledge that they do it for no good reason.
The play confronts the reader and audience with a void of meaning, challenging them with the blankness and boredom of this situation. The characters of Vladimir and Estrogen are grim even in their casual conversation, even as Lucky entertains them with song and dance.
Pizza, in particular, makes speeches that reflect a sense of angst and sadness. While Waiting for Godot “is, in many ways, a nihilistic and existential play, it also contains elements of spirituality.
To all mankind they were addressed, those cries for help still ringing in our ears! But at this place, at this moment of time, all mankind is us, whether we like it or not.
Let us represent worthily for one the foul brood to which a cruel fate consigned us! It is true that when with folded arms we weigh the pros and cons we are no less a credit to our species.
Vladimir: (finally) I remain in the dark.” Samuel Beckett, Waiting for Godot “The tears of the world are a constant quantity.