Worksheet: Screening Movie Waiting for Godot
Q. Who
according to you is Godot? God? An object of desire? Death? Goal? Success? Or
. . .
Ans-> According
to me Godot is an object of desire, it is so because as the play is based on
waiting and we can see the two tramps- Vladimir and Estragon are waiting for a
person named Mr. Godot whom they haven’t seen ever in their lifetime. They
still keep on waiting because the wait itself gets generated to desire with the
passing time. It’s for their desire only that their wait becomes so
enthusiastic. It’s natural when we desire something we want to achieve in one
way or the other.
Q. The
director feels the setting with some debris. Can you read any meaning in the
contours of debris in the setting of the play?
Ans-> Here, director uses the settings of debris and wastage and
collapsed buildings which shows failure of materialistic world. That’s why he
shows that debris in the background that gives reminder to both of them that
nothing is permanent in the end. But what gives them pessimistic way to live is
the hope and meaning that they find out of that debris. And that’s why they go
on waiting for Godot.
Q. The play
begins with the dialogue “Nothing to be done”. How does the theme of
‘nothingness’ recurs in the play?
Ans-> The play begins with the dialogue, “nothing to be done” is
appropriate here because in every aspect of the play- in structure, setting,
characters, dialogues and many as such we can find that the play has no meaning
at all, though it suggests the nothingness of life. We can also find this in
one of the dialogue which has got some connection with it, “nobody comes….
nobody goes…. It’s awful…” in the play we can see that both are waiting for
Godot but they are not sure whether he would come or not but they still go on
waiting. We know that our life is unpredictable and full of uncertainties are in
it but then also we go on living our life with the hope that one day or the
other we would achieve salvation but that day never comes. And at last we feel
like worthless, though we had achieved so many things in our life and we all
have one restless question which is what else can be done by us to achieve salvation.
Q. Do you agree:
“The play (Waiting for Godot), we agreed, was a positive
play, not negative, not pessimistic. As I saw it, with my blood and skin and
eyes, the philosophy is: 'No matter what— atom bombs, hydrogen bombs,
anything—life goes on. You can kill yourself, but you can't kill life."
(E.G. Marshal who played Vladimir in original Broadway production 1950s)?
Ans-> We can say waiting for Godot as a puzzling play. Because it
is not quite clear that the play is positive or negative or pessimistic play we
can interpretate it in various ways. That’s why Beckett himself did not throw
much light on the meaning of the play. It depends on individual because there
is something in the play for almost everybody. According to E.G.Marshal’s
philosophy that we can end our physical suffering by killing ourselves but the
question is that can we kill the life or its cycle? No, we can’t because it is
not static that’s why life goes on and it doesn’t make any difference whether
we are living or dead.
Q. How are the props
like hat and boots used in the play? What is the symbolical significance of
these props?
Ans-> Significance of props like ‘Hat’ and ‘Boot’ are described in
this play. Throughout the play Vladimir looks into hat so many times instead of
looking into boot and through Vladimir hat is symbolised as a rational thought
process. Estragon who focuses on boots more than hats is more earthly and
grounded than Vladimir and through Estragon boot is symbolised as the struggle
of life which all faces, and taking off boots shows the try to come out from
that struggles. So it’s all about the struggle between mind and body for which
we at times are unable to make out what is right or wrong because unlike
Vladimir and Estragon our hats and boots also symbolises the same in one way or
the other that is- hat thinks for the meaning of life and boots struggles for
the meaning of life.
Q. Do you think that
the obedience of Lucky is extremely irritating and nauseatic? Even when the
master Pozzo is blind, he obediently hands the whip in his hand. Do you think
that such a capacity of slavishness is unbelievable?
Ans->
Yes, I think obedience of Lucky is extremely irritating and nauseatic. When Lucky
knows that his master has gone blind than also he gives the whip in his hand.
When someone knows the reality and follows it blindly it’s called as addiction
and he can’t come out from that easily. But it happens in the world that the disciples
of the saints follow them blindly even when the reality gets revealed but instead
of that they go on proving that there is no truth behind it. And we can’t make
them realize until and unless they themselves not feel that what they are going
into the wrong path and it becomes meaningless to show them the right path. We
can find this type of slavishness around us too. So, one shall accept it as a
part of life.
Q. “The subject of the
play is not Godot but ‘Waiting’” (Esslin, A Search for the Self). Do you
agree? How can you justify your answer?
Ans-> In Martin
Esslin’s essay ‘A Search for the self’ he said that the subject of the play is
not Godot but waiting. I do agree with his statement because throughout our life
we are waiting for something. We know that future is unpredictable. So what?
Can we give living life? Can we stop desiring something? Can we leave hope? No,
we can’t. Our life itself is unpredictable but we go on living to meet with its
end, i.e. death. So we can say that internally we are waiting for liberation of
our soul. And externally we are waiting for the death. But the common thing in
the both is “waiting” and we can’t free ourselves from it.
Q. Do you think that
plays like this can better be ‘read’ than ‘viewed’ as it requires a lot of
thinking on the part of readers, while viewing, the torrent of dialogues does
not give ample time and space to ‘think’? Or is it that the audio-visuals help
in better understanding of the play?
Ans-> Yes, I think that audio-visual gives us better understanding
of the play. It is also true that it doesn’t give us ample time to think. We
have to move fast with changing scene on the screen. But if we try to look at
the reading of the text it too has got some limitations for which in some parts
we can’t imagine the actual scene or action or pause which is written in the
text. But in screening of this play we came across few things as such that why
they take pause or what does the meaning of silence in both the acts signify.