40 xvii. According to him, since the idea and expression of these playwrights is
relatively new and esoteric, it needs the new standards and criteria because it is impossible to judge this kind of esoteric avant-garde based on conventional
standards and criteria. Inevitably, plays written in this new convention will, when judged by
the standards and criteria of another, be regarded as impertinent and outrageous impostures…But the plays we are concerned with here
pursue ends quite different from those of conventional play and therefore use quite different methods. They can be judged only by the
standards of the Theatre of the Absurd… Esslin, 1961: xvii-xviii
2.3.2 Its Main Characteristics
As Esslin made this new term, or in a largest sense, a new genre in drama and theatre, he recognizes some basic characteristics which generally exist in
absurdist dramas; these characteristics encompassing plotless, have no recognizable characters, the theme never fully explained or resolved, reflects
dreams and nightmares and serves incoherent and incomprehension dialogue. If a good play must have a cleverly constructed story, these have no
story or plot to speak; if a good play is judged by subtlety of characterization and motivation, these are often without recognizable
characters and present the audience with almost mechanical puppets; if a good play has to have a fully explained theme, which is neatly
exposed and finally solved, these often have neither beginning nor an ends.; if good play is to hold the mirror up to nature and portray the
manners and mannerisms of the age in finely observed sketches, these seem often to be the reflections of dreams and nightmares; if a good
play relies on witty repartee and pointed dialogue, these often consist of incoherent babblings.Esslin, 1961:xviii
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CHAPTER 3 ANALYSIS OF CHARACTERISTICS OF THE THEATRE OF THE
ABSURD IN SAMUEL BECKETT’S WAITING FOR GODOT 3.1 Plot
Samuel Beckett’s Waiting for Godot serves arbitrarily movements of the plot, the arrangement of events are not well-made and fully-constructed as in the
normal play. It is quite clear that the plot is plotless because there is no identifiable beginning, middle and end. In addition, Act I is seemingly identical to
Act II. As the play unfolds, the playwright directly serves plotless characteristics
of the Theatre of the Absurd dealing with the action of two major characters: Vladimir and Estragon. The two characters appear suddenly from nowhere. They
have no backgrounds such as family background, where coming from, and there is no place to stay. In short, they appear as they are.
Estragon, sitting on a low mound, is trying to take off his boot. He pulls at it with both hands, panting. He gives up, exhausted, rests, tries again.
As before. Enter Vladimir.
ESTRAGON:
giving up again. Nothing to be done.
VLADIMIR:
advancing with short, stiff strides, legs wide apart. Im beginning to come round to that opinion. All my life Ive
tried to put it from me, saying Vladimir, be reasonable, you havent yet tried everything. And I resumed the
struggle. He broods, musing on the struggle. Turning to Estragon. So there you are again.
ESTRAGON:
Am I?
VLADIMIR:
Im glad to see you back. I thought you were gone forever.
ESTRAGON:
Me too.
VLADIMIR:
Together again at last Well have to celebrate this. But how? He reflects. Get up till I embrace you.
ESTRAGON:
irritably. Not now, not now. Act I: 9
This dialogue above exemplifies that this event is not the beginning of this play. Estragon as described in the text, is trying to take off his boot then he gives
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