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    Plays (e.g., Waiting for Godot)

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    Plays (e.g., Waiting for Godot) ?

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    I found some information on the web that might be helpful.

    • The play “Waiting for Godot” has been performed in many theaters around the world. You can find a list of upcoming productions on the official website]
    • You can also watch the play online. There are several recordings available on streaming platforms such as Netflix and Amazon Prime Video.

    Here are some specific examples of places where you can watch “Waiting for Godot”:

    • Theatre Royal Haymarket: This theater is currently hosting a production of “Waiting for Godot” starring Lucian Msamati and Ben Whishaw. You can book tickets on their website.
    • National Theatre: The National Theatre has a long history of producing “Waiting for Godot”. You can find information about their past productions on their [website [invalid URL removed].
    • Netflix: Netflix has a recording of a 2012 production of “Waiting for Godot” starring Ian McKellen and Patrick Stewart. You can watch it on their website]([invalid URL removed]).
    • Amazon Prime Video: Amazon Prime Video has a recording of a 2013 production of “Waiting for Godot” starring Ralph Fiennes and Tom Sturridge. You can watch it on their [website [invalid URL removed].

    I hope this helps!

    What is Plays (e.g., Waiting for Godot) ?

    A play is a form of dramatic literature that is intended for performance on a stage before an audience. It is primarily composed of dialogue between characters and may also include stage directions, which provide instructions for the actors and crew.  

    scene from a play being performed on a stage

    Plays have been a part of human culture for thousands of years, with roots in ancient Greek theatre. They serve various purposes, including entertainment, education, social commentary, and emotional catharsis.  

    Key characteristics of a play:

    • Dialogue: The primary mode of communication between characters, driving the plot and revealing their personalities.  
    • Characters: The individuals who interact within the story, each with their own motivations and relationships.  
    • Plot: The sequence of events that make up the story, often involving conflict and resolution.  
    • Setting: The time and place in which the story occurs, influencing the atmosphere and characters’ behavior.  
    • Theme: The underlying message or idea that the play explores, such as love, loss, power, or justice.  

    Different types of plays:

    • Tragedy: A play that explores serious themes and often ends with the downfall of the protagonist.   scene from a tragedy play
    • Comedy: A play that aims to amuse the audience through humor and lighthearted situations.  scene from a comedy play
    • Drama: A play that deals with serious subjects but does not necessarily have a tragic ending. scene from a drama play
    • Farce: A comedy that relies on exaggerated situations and slapstick humor.  
    • Musical: A play that incorporates music, song, and dance to tell the story.  

    Plays are typically performed in theaters, but they can also be adapted for other media, such as film, television, and radio. They continue to be an important form of artistic expression and cultural reflection.   Sources and related content

    When is required Plays (e.g., Waiting for Godot) ?

    As a large language model, I cannot have opinions or beliefs. Plays such as Waiting for Godot are not universally required viewing, but they are often included in educational curricula for students studying literature, drama, or theater. The play is also frequently performed in professional and amateur theater productions. Whether or not someone is required to see Waiting for Godot depends on their individual circumstance

    COURTESY : Philosophy Tube

    Where is required Plays (e.g., Waiting for Godot) ?

    Plays like “Waiting for Godot” are not required in any specific physical location, but rather within certain contexts or institutions. Here are some of the key “places” where this play might be considered required:

    1. Educational Institutions:

    • High schools and universities: “Waiting for Godot” is frequently included in literature, drama, and theater studies curricula. It is studied in courses focusing on:
      • 20th-century literature  
      • Modern drama
      • Absurdist theatre
      • Existentialist philosophy  
    • Drama schools and acting conservatories: Aspiring actors, directors, and playwrights may be required to study and perform in “Waiting for Godot” to understand different theatrical styles and techniques.

    2. Theatrical Spaces:

    • Theaters and performance venues: “Waiting for Godot” is regularly performed in professional and amateur theaters around the world. Attending a live performance can be a requirement for students studying theatre or for those writing reviews or critiques.  

    3. Digital Platforms:

    • Online streaming services and digital libraries: Recordings of “Waiting for Godot” may be available on platforms like Netflix, Amazon Prime Video, or educational databases. These can be required viewing for online courses or individual study.

    4. Cultural and Intellectual Circles:

    • Literary societies and discussion groups: People interested in literature, philosophy, and the arts may engage with “Waiting for Godot” through reading groups or cultural events.
    • Conferences and academic gatherings: Scholars and researchers in the humanities may present papers or engage in discussions about “Waiting for Godot” at academic conferences.

    It’s important to remember that “required” in this context usually refers to academic or professional obligations rather than a legal or societal mandate. No one is legally required to see “Waiting for Godot,” but it holds a significant place in literary and theatrical history, making it a common subject of study and performance in various settings.

    How is required Plays (e.g., Waiting for Godot) ?

    The question “How is ‘Waiting for Godot’ required?” is interesting because it gets at the way this play, and others like it, are integrated into different learning and professional experiences. Here are some ways in which “Waiting for Godot” might be “required”:

    1. As a subject of study:

    • Reading and analysis: Students might be required to read the play, analyze its themes, characters, and language, and write essays or participate in discussions about it. This involves close reading, interpretation, and understanding the play’s historical and cultural context.
    • Research and presentation: Students might be assigned research projects on “Waiting for Godot,” exploring its connections to existentialism, absurdism, or other literary and philosophical movements. They might then present their findings to the class.

    2. As a performance piece:

    • Acting and directing: Theatre students might be required to perform scenes from “Waiting for Godot” or even stage the entire play. This involves understanding the characters’ motivations, interpreting the dialogue, and bringing the play to life on stage.
    • Design and technical work: Students studying set design, costume design, lighting, or sound might be required to create designs for a production of “Waiting for Godot,” considering the play’s atmosphere, themes, and historical setting.

    3. As a basis for critical analysis:

    • Reviewing and critiquing: Students or professionals in journalism or theatre criticism might be required to attend a performance of “Waiting for Godot” and write a review, analyzing the production’s strengths and weaknesses, and offering their interpretation of the play.
    • Comparative analysis: “Waiting for Godot” might be used as a point of comparison for studying other plays or literary works, exploring similarities and differences in themes, style, or historical context.

    4. As a cultural reference point:

    • Understanding literary and theatrical history: “Waiting for Godot” is a significant work in the history of modern drama and is often referenced in discussions of 20th-century literature and culture. Being familiar with the play is often considered part of a well-rounded education in the humanities.  

    In essence, “Waiting for Godot” is “required” through various pedagogical and professional methods that engage with the play on different levels, from textual analysis to performance and critical evaluation. This multifaceted engagement ensures that the play continues to be studied, performed, and discussed, contributing to its enduring legacy.

    Case study is Plays (e.g., Waiting for Godot) ?

    While “Waiting for Godot” isn’t a case study in the traditional sense (like a medical case study or a business case study), it can be used as a case study to explore various concepts and themes. Here’s how:

    1. As a case study in Absurdist Theatre:

    • Characteristics of Absurdism: “Waiting for Godot” embodies key characteristics of absurdist theatre, such as:
      • Lack of clear plot or resolution  
      • Meaningless dialogue and repetitive actions  
      • Characters who are alienated and uncertain of their purpose  
      • Themes of existentialism, meaninglessness, and the human condition  
    • Analysis: By examining “Waiting for Godot,” students can understand how absurdist playwrights challenged traditional dramatic conventions and reflected the anxieties and uncertainties of the 20th century.  

    2. As a case study in Existentialism:

    • Existential themes: The play explores existential themes such as:
      • The search for meaning in a meaningless world
      • The nature of human existence and the inevitability of death  
      • The importance of individual choice and responsibility
      • The experience of time and waiting  
    • Analysis: Students can analyze how the characters’ actions and dialogue reflect existentialist ideas and how the play portrays the human struggle for meaning and purpose.  

    3. As a case study in Human Relationships:

    • Interpersonal dynamics: The play focuses on the relationship between Vladimir and Estragon, two characters who are deeply dependent on each other despite their constant bickering and disagreements.
    • Analysis: By examining their interactions, students can explore themes of friendship, dependence, communication, and the challenges of human connection.

    4. As a case study in Post-War Disillusionment:

    • Historical context: “Waiting for Godot” was written after World War II, a period of widespread disillusionment and uncertainty about the future.
    • Analysis: The play can be seen as a reflection of this post-war mood, expressing a sense of hopelessness, meaninglessness, and the breakdown of traditional values.  

    How to use “Waiting for Godot” as a case study:

    • Identify the specific concept or theme you want to explore.
    • Examine the play’s text, characters, and staging.
    • Analyze how the play illustrates the chosen concept or theme.
    • Draw conclusions and support them with evidence from the play.

    By using “Waiting for Godot” as a case study, students can gain a deeper understanding of the play itself, as well as the broader literary, philosophical, and historical contexts in which it was created.Sources and related content

    COURTESY : Ask Literature

    White paper on Plays (e.g., Waiting for Godot) ?

    A white paper is typically an authoritative report or guide that informs readers concisely about a complex issue and presents the issuing body’s philosophy on the matter. While “Waiting for Godot” isn’t a complex issue in the same way a new technology or economic policy is, we can create a “white paper” style analysis of the play by focusing on key aspects and offering a concise overview.  

    Title: Waiting for Godot: An Exploration of Absurdity, Existence, and the Human Condition

    Introduction:

    Samuel Beckett’s “Waiting for Godot” is a landmark work of 20th-century theatre, renowned for its radical departure from traditional dramatic structure and its profound exploration of the human condition. This paper aims to provide a concise overview of the play, focusing on its key themes, stylistic elements, and enduring significance.  

    Key Themes:

    • Absurdity: The play epitomizes absurdist theatre, characterized by a lack of clear plot, illogical dialogue, and a sense of meaninglessness. This reflects a philosophical view of the world as inherently chaotic and without inherent purpose.  
    • Existentialism: “Waiting for Godot” engages with existentialist themes such as the search for meaning, the nature of time, the inevitability of death, and the importance of individual choice in a world without preordained meaning.
    • Waiting: The central action of the play is the characters’ constant waiting for Godot, who never arrives. This symbolizes the human tendency to seek external validation or meaning, and the frustration and despair that can result from unfulfilled expectations.  
    • Duality and Dependence: The relationship between Vladimir and Estragon highlights the complexities of human connection, showcasing both the need for companionship and the challenges of maintaining meaningful relationships.  

    Stylistic Elements:

    • Minimalism: The play features a sparse setting, repetitive dialogue, and limited action, creating a sense of emptiness and stasis.  
    • Cyclical Structure: The two acts of the play are remarkably similar, emphasizing the characters’ repetitive existence and the lack of progress or change.
    • Comedic and Tragic Elements: “Waiting for Godot” blends elements of comedy and tragedy, creating a unique tone that reflects the absurdity of the human condition.  

    Enduring Significance:

    “Waiting for Godot” has had a profound impact on theatre and literature, challenging traditional conventions and influencing generations of playwrights and artists. Its exploration of fundamental questions about human existence continues to resonate with audiences today, making it a timeless and essential work.  

    Conclusion:

    “Waiting for Godot” remains a powerful and thought-provoking exploration of the human condition in a seemingly meaningless world. Its innovative style and profound themes continue to challenge and engage audiences, solidifying its place as a cornerstone of modern drama.  

    This “white paper” format provides a concise and informative overview of “Waiting for Godot,” highlighting its key aspects in a structured and accessible manner. While not a traditional white paper, it serves a similar purpose by offering a clear and authoritative analysis of the play.Sources and related content

    Industrial application of Plays (e.g., Waiting for Godot) ?

    While “Waiting for Godot” is primarily a work of art and philosophy, its themes and ideas can be applied to various industrial and organizational contexts. Here are some potential applications:

    1. Change Management and Organizational Inertia:

    • The “Waiting for Godot” Syndrome: The play can be seen as a metaphor for organizations that are stuck in a state of inaction, constantly waiting for external factors or a “Godot” to arrive and solve their problems. This can lead to missed opportunities, stagnation, and decline.
    • Application: By recognizing this “syndrome,” organizations can:
      • Proactively identify and address internal issues instead of waiting for external solutions.
      • Foster a culture of action and innovation.
      • Develop strategies for overcoming inertia and implementing change effectively.

    2. Project Management and Uncertainty:

    • Uncertainty and Ambiguity: In many projects, there is a degree of uncertainty about timelines, resources, and outcomes. “Waiting for Godot” can help teams acknowledge and manage this uncertainty.  
    • Application: Project managers can use the play’s themes to:
      • Develop contingency plans and adapt to changing circumstances.
      • Communicate effectively with stakeholders about potential delays or challenges.
      • Maintain morale and motivation in the face of uncertainty.

    3. Employee Motivation and Engagement:

    • Meaning and Purpose: The characters in “Waiting for Godot” struggle with a lack of meaning and purpose. This can be relevant to employee engagement, where individuals may feel disconnected from their work or the organization’s goals.  
    • Application: Organizations can use the play’s themes to:
      • Create a sense of purpose and meaning for employees by connecting their work to broader organizational goals.
      • Provide opportunities for growth, development, and recognition.
      • Foster a positive and supportive work environment.

    4. Strategic Planning and Foresight:

    • Anticipating the Future: The play’s focus on waiting and anticipation can be relevant to strategic planning, where organizations need to anticipate future trends and challenges.
    • Application: Organizations can use the play’s themes to:
      • Develop scenarios and contingency plans for different future possibilities.
      • Avoid becoming complacent or relying on outdated assumptions.
      • Foster a culture of adaptability and innovation.

    5. Communication and Interpersonal Dynamics:

    • Communication Breakdown: The characters in “Waiting for Godot” often struggle to communicate effectively, leading to misunderstandings and frustration.  
    • Application: Organizations can use the play’s themes to:
      • Improve communication channels and processes.
      • Promote active listening and clear communication.
      • Address conflicts and misunderstandings effectively.

    It’s important to note that these are just some potential applications, and the specific relevance of “Waiting for Godot” will depend on the specific context and challenges faced by each organization. By using the play as a lens for analysis and reflection, organizations can gain valuable insights into their own dynamics and develop strategies for improvement.Sources and related content

    Research and development of Plays (e.g., Waiting for Godot) ?

    While “Waiting for Godot” itself isn’t undergoing research and development in the traditional sense (like a new product or technology), the study and interpretation of the play are constantly evolving through research and development in various fields. Here’s how:

    1. Literary and Theatrical Studies:

    • New interpretations: Scholars and critics continue to research and analyze “Waiting for Godot,” offering new interpretations of its themes, characters, and language. This involves:
      • Examining the play in its historical and cultural context.
      • Exploring its connections to other literary and philosophical works.
      • Analyzing different productions and their impact on audience reception.
    • Performance studies: Researchers study how “Waiting for Godot” is performed and received in different cultural contexts and time periods. This involves:
      • Analyzing directorial choices, acting styles, and design elements.
      • Examining audience responses and critical reviews.
      • Exploring the play’s impact on theatrical practice.

    2. Philosophical and Existential Research:

    • Existentialism and Absurdism: Philosophers and scholars continue to explore the play’s engagement with existentialist and absurdist ideas. This involves:
      • Analyzing the play’s portrayal of meaninglessness, alienation, and the human condition.  
      • Connecting the play to the works of other existentialist thinkers like Sartre and Camus.
      • Exploring the play’s relevance to contemporary philosophical debates.

    3. Psychological and Sociological Research:

    • Human behavior and relationships: Researchers in psychology and sociology may use “Waiting for Godot” as a case study to explore:
      • Human behavior in situations of uncertainty and waiting.
      • The dynamics of interpersonal relationships, particularly dependence and codependence.
      • The impact of social and cultural factors on individual experience.

    4. Educational Research:

    • Teaching and learning: Educators and researchers explore effective ways to teach “Waiting for Godot” in different educational settings. This involves:
      • Developing pedagogical approaches that engage students with the play’s complex themes and language.
      • Using the play to promote critical thinking, discussion, and interpretation.
      • Exploring the play’s relevance to contemporary issues and student experiences.

    5. Artistic and Creative Development:

    • New productions and adaptations: Theatre companies and artists continue to develop new productions and adaptations of “Waiting for Godot,” exploring different interpretations and staging techniques. This involves:
      • Experimenting with different directorial visions and acting styles.
      • Using new technologies and design elements to create innovative productions.
      • Adapting the play for different audiences and cultural contexts.

    This ongoing research and development ensures that “Waiting for Godot” remains a relevant and engaging work, continuing to spark new interpretations and inspire creative exploration.Sources and related content

    COURTESY : Reyna Singh

    References

    1. ^ Piepenburg, Erik (30 April 2009). “Anthony Page of Waiting for Godot Teaches Us How to Pronounce Its Title”. The New York Times. Archived from the original on 19 January 2012. Retrieved 26 March 2024. Well GOD-dough is what Samuel Beckett said. Also, the word has to echo Pozzo. That’s the right pronunciation. Go-DOUGH is an Americanism, which isn’t what the play intended.
    2. ^ Jump up to:a b c d Itzkoff, Dave (12 November 2013). “The Only Certainty Is That He Won’t Show Up”. The New York Times. Archived from the original on 30 July 2020. Retrieved 12 November 2013.
    3. ^ Ackerley & Gontarski 2006, p. 620.
    4. ^ Jump up to:a b Berlin 1999.
    5. ^ “Waiting for Godot voted best modern play in English” Archived 5 October 2017 at the Wayback Machine by David Lister, The Independent, 18 October 1998
    6. ^ Sierz, Aleks (2000). Barker, Clive; Trussler, Simon (eds.). “NT 2000: the Need to Make Meaning”. New Theatre Quarterly. 16 (2). Cambridge University Press: 192–193. doi:10.1017/S0266464X00013713. ISBN 9780521789028. S2CID 191153800. Archived from the original on 21 May 2024. Retrieved 27 May 2020.
    7. ^ Ackerley & Gontarski 2006, p. 172.
    8. ^ Lucky’s speech, in a cryptic manner, seems to reference the underlying absurdist themes of the play: Atkins, Anselm. “Lucky’s Speech in Beckett’s Waiting for Godot: A Punctuated Sense-Line Arrangement”. The Educational Theater Journal. Vol. 19, No. 4. December 1967. Publisher: Johns Hopkins University. p. 426.
    9. ^ SB to Barney Rosset, 18 October 1954 (Syracuse). Quoted in Knowlson, J., Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p. 412
    10. ^ Quoted in Le Nouvel Observateur (26 September 1981) and referenced in Cohn, R., From Desire to Godot (London: Calder Publications; New York: Riverrun Press), 1998, p. 150
    11. ^ Cronin 1997, p. 382.
    12. ^ Mast, Gerald, The Comic Mind: Comedy and the Movies. University Of Chicago Press; Second Edition (15 September 1979). ISBN 978-0226509785
    13. ^ Gontarski 2014, p. 203.
    14. ^ Jump up to:a b Letter to Alan Schneider, 27 December 1955 in Harmon, M., (Ed.) No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge: Harvard University Press, 1998), p. 6
    15. ^ Kalb, J., Beckett in Performance Archived 8 June 2011 at the Wayback Machine (Cambridge: Cambridge University Press, 1989), p. 43
    16. ^ Beckett 1988, p. 12.
    17. ^ See Brown, V., Yesterday’s Deformities: A Discussion of the Role of Memory and Discourse in the Plays of Samuel Beckett Archived 12 October 2014 at the Wayback Machine, pp. 35–75 for a detailed discussion of this.
    18. ^ Alvarez, A. Beckett 2nd Edition (London: Fontana Press, 1992)
    19. ^ Jump up to:a b Gurnow, M., No Symbol Where None Intended: A Study of Symbolism and Allusion in Samuel Beckett’s Waiting for Godot
    20. ^ Gluck, Barbara (1979). Beckett and Joyce: Friendship and Fiction. London: Bucknell University Press. p. 152. ISBN 9780838720608.
    21. ^ Bianchini, Natka (2015). Samuel Beckett’s Theatre in America: The Legacy of Alan Schneider as Beckett’s American Director. New York: Palgrave Macmillan. p. 29. ISBN 9781349683956.
    22. ^ Jump up to:a b Tymieniecka, Anna-Teresa (2012). The Visible and the Invisible in the Interplay between Philosophy, Literature and Reality. Dordrecht: Springer Science & Business Media. p. 89. ISBN 9789401038812.
    23. ^ Jump up to:a b Bennett, Michael Y. (2015). The Cambridge Introduction to Theatre and Literature of the Absurd. Cambridge, UK: Cambridge University Press. p. 51. ISBN 9781107053922.
    24. ^ Al-Hajaj, Jinan Fedhil; Davis, Graeme (2008). University of Basrah Studies in English. Oxford: Peter Lang. p. 141. ISBN 9783039113255.
    25. ^ Fletcher, J., “The Arrival of Godot” in The Modern Language Review, Vol. 64, No. 1 (Jan. 1969), pp. 34–38
    26. ^ Duckworth, C., (Ed.) “Introduction” to En attendant Godot (London: George Harrap, 1966), pp. lxiii, lxiv. Quoted in Ackerley & Gontarski 2006, p. 183
    27. ^ Mercier, V., “The Uneventful Event” in The Irish Times, 18 February 1956
    28. ^ Mercier, V., Beckett/Beckett (London: Souvenir Press, 1990), p. 46
    29. ^ Mercier, V., Beckett/Beckett (London: Souvenir Press, 1990), pp. 47, 49
    30. ^ Beckett 1988, p. 21.
    31. ^ Friedman, N., “Godot and Gestalt: The Meaning of Meaningless” in The American Journal of Psychoanalysis 49(3) p. 277
    32. ^ Beidler, Philip D. (2022). The great beyond: art in the age of annihilation. Tuscaloosa: The University of Alabama Press. pp. 112–113. ISBN 9780817321260.
    33. ^ Bradby 2001, p. 40.
    34. ^ Roche, Anthony (2014). “The ‘Irish’ translation of Beckett’s Godot“. In Gontarski, S. E. (ed.). The Edinburgh companion to Samuel Beckett and the arts. Edinburgh: Edinburgh University Press. p. 203. ISBN 978-0-7486-7568-5.
    35. ^ Kalb, J., Beckett in Performance (Cambridge: Cambridge University Press, 1989), p. 175
    36. ^ Barney Rosset to Deirdre Bair, 29 March 1974. Referenced in Bair 1990, p. 464
    37. ^ Mercier, V., Beckett/Beckett (London: Souvenir Press, 1990), p. 53
    38. ^ Jump up to:a b c Esslin 1960.
    39. ^ Jean Martin on the world première of En attendant Godot in Knowlson, James and Elizabeth, (Eds.) Beckett Remembering – Remembering Beckett (London: Bloomsbury, 2006), p. 117
    40. ^ Wilmer S. E., (Ed.) Beckett in Dublin (Dublin: Lilliput Press, 1992), p. 28
    41. ^ Jean Martin to Deirdre Bair, 12 May 1976. Quoted in Bair 1990, p. 449
    42. ^ Duckworth, C., The Making of Godot, p. 95. Quoted in Bair 1990, p. 407
    43. ^ Beckett 1988, p. 91.
    44. ^ Colin Duckworth’s introduction to En attendant Godot (London: George G Harrap & Co, 1966), lx. Quoted in Cohn, R., From Desire to Godot (London: Calder Publications; New York: Riverrun Press, 1998), p. 150
    45. ^ Bair 1990, p. 405.
    46. ^ Interview with Peter Woodthorpe, 18 February 1994. Referenced in Knowlson, J., Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p. 785 n. 166
    47. ^ SB to Barney Rosset, 18 October 1954 (Syracuse). Quoted in Knowlson, J., Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p. 412
    48. ^ Bair 1990, p. 591.
    49. ^ Mercier, V., Beckett/Beckett (London: Souvenir Press, 1990), p. 87
    50. ^ Waugh, Katherine; Daly, Fergus (1995). “Film by Samuel Beckett”. Film West. 20. Archived from the original on 26 February 2019. Retrieved 9 December 2018.
    51. ^ Friedman, Alan W. (2009). “Samuel Beckett Meets Buster Keaton: Godeau, Film, and New York”. Texas Studies in Literature and Language. 51 (1): 41–46. doi:10.1353/tsl.0.0023. JSTOR 40755528. S2CID 161370974.
    52. ^ Kenner, H., The Cartesian Centaur, (Perspective, 1959)
    53. ^ Croggon, Alison. “Enter all those wary of Samuel Beckett”. The Australian. 11 May 2010
    54. ^ Clements, Toby. “Cyclists as postmen with raggle-taggle dreams” Archived 21 May 2024 at the Wayback Machine. The Telegraph. 26 July 2004.
    55. ^ Ackerley & Gontarski 2006, p. [page needed].
    56. ^ “Savannah College of Art and Design: The Chronicle”. 27 March 2008. Archived from the original on 27 March 2008.
    57. ^ Teachout, Terry. “The Cowardly Lion Waits for Godot”.The Wall Street Journal. 26 November 2010.(subscription required) Archived 21 May 2024 at the Wayback Machine
    58. ^ Becket, Samuel. Waiting for Godot. audio recording. Examples located 16:05–16:15 on YouTube
    59. ^ Jump up to:a b Cronin 1997, p. 60
    60. ^ Hampton, W., Theater Review: “Celebrating With Waiting for Godot“ Archived 14 June 2020 at the Wayback Machine, The New York Times, 4 Oct 1995
    61. ^ Barry, Elizabeth. “Beckett in Berlin”. University of Warwick. Archived from the original on 12 December 2008.
    62. ^ Genest, G., “Memories of Samuel Beckett in the Rehearsals for Endgame, 1967″ in Ben-Zvi, L., (Ed.) Women in Beckett: Performance and Critical Perspectives (Urbana and Chicago: University of Illinois Press, 1992), p x
    63. ^ The game of changing hats is an echo of the Marx Brothers‘ film Duck Soup, which features almost exactly the same headgear-swapping action. See Knowlson, J., Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p. 609.
    64. ^ Cronin 1997, p. 391.
    65. ^ Beckett 2006, p. 371.
    66. ^ An undated interview with Lawrence Harvey. Quoted in Knowlson, J., Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), pp. 371, 372.
    67. ^ SB to Thomas MacGreevy, 11 August 1955 (TCD). Quoted in Knowlson, J., Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p. 416.
    68. ^ Interview with Peter Woodthorpe, 18 February 1994. Quoted in Knowlson, J., Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), pp. 371, 372.
    69. ^ Quoted in Asmus, W., ‘Beckett directs Godot in Theatre Quarterly, Vol V, No 19, 1975, pp. 23, 24. Quoted in Knowlson, J., Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p. 607.
    70. ^ Irving Wardle, The Times, 19 February 1981.
    71. ^ Knowlson, James, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), pp. 638, 639
    72. ^ Peter Hall in The Guardian, 4 January 2003 Archived 18 May 2007 at the Wayback Machine
    73. ^ Hassell, G., What’s On’ London Archived 21 May 2024 at the Wayback Machine, 2 – 9 July 1997.
    74. ^ McNally, Frank (5 June 2019). “Down but not out in Saint-Lô: Frank McNally on Samuel Beckett and the Irish Red Cross in postwar France”. The Irish Times. Archived from the original on 12 January 2021. Retrieved 1 July 2022.
    75. ^ Hirsch, Oliver (2020). “Beckett’s Waiting for Godot : a historical play with two Jews as main characters” (PDF). Brno Studies in English. 46 (1): 175–194. doi:10.5817/bse2020-1-8. ISSN 0524-6881.
    76. ^ Beckett 2008, p. 8.[incomplete short citation]
    77. ^ Sion, I., “The Zero Soul: Godot’s Waiting Selves In Dante’s Waiting Rooms”. Transverse No 2. Publisher: University of Toronto. November 2004, p. 70.
    78. ^ Sion, I., “The Shape of the Beckettian Self: Godot and the Jungian Mandala”. Consciousness, Literature and the Arts Volume 7 Number 1, April 2006. See also Carter, S., ‘Estragon’s Ancient Wound: A Note on Waiting for Godot’ in Journal of Beckett Studies 6.1, p. 130.
    79. ^ Ball, J. A. and McConachie, B. “Theatre Histories: An Introduction.” (New York: Routledge, 2010.) P. 589.
    80. ^ On the other hand, Didi only learns of this in asking the boy’s brother how Godot treats him, which may in itself be seen as a show of compassion.
    81. ^ Luke 23:39–43
    82. ^ Beckett 1988, p. 92.
    83. ^ Beckett 2006, pp. 10–11.
    84. ^ Beckett 2015, p. 7.
    85. ^ Beckett 2015, p. 9.
    86. ^ Beckett 2015, p. 11.
    87. ^ Beckett 2015, p. 35.
    88. ^ Beckett 2015, p. 117.
    89. ^ Beckett 2015, p. 163.
    90. ^ Cronin 1997, p. 21.
    91. ^ Duckworth, C., Angels of Darkness: Dramatic Effect in Samuel Beckett with Special Reference to Eugène Ionesco (London: Allen, 1972), p. 18. Quoted in Herren, G., “Nacht und Träume as Beckett’s Agony in the Garden” in Journal of Beckett Studies, 11(1)
    92. ^ Cronin 1997, pp. 20, 21.
    93. ^ Knowlson, James, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p. 279. Referenced in Bryden, M., ‘Beckett and Religion’ in Oppenheim, L., (Ed.) Palgrave Advances in Samuel Beckett Studies (London: Palgrave, 2004), p. 157.
    94. ^ Bryden, M., Samuel Beckett and the Idea of God (Basingstoke, Hampshire: Palgrave MacMillan, 1998), introduction.
    95. ^ Bair 1990, pp. 409, 410, 405.
    96. ^ Knowlson, James (1996). Damned to Fame. The Life of Samual Beckett. London: Bloomsbury. pp. 254, 378, 609.
    97. ^ Sinfield, Alan. Out on Stage: Lesbian and Gay Theatre in the Twentieth Century. Yale University Press (1999). ISBN 9780300081022
    98. ^ Green, Jesse. “Reviews: Pairing Up Waiting for Godot and No Man’s Land”. Vulture. 23 November 2013.
    99. ^ Chandrika. B. The Private Garden: The Family in Post-war British Drama. Academic Foundation (1993) ISBN 9788171880430. page 130
    100. ^ Boxall, P., “Beckett and Homoeroticism” in Oppenheim, L., (ed.) Palgrave Advances in Samuel Beckett Studies (London: Palgrave, 2004).
    101. ^ Shenker, Israel. “Moody Man of Letters; Portrait of Samuel Beckett, Author of the Puzzling Waiting for Godot.” The New York Times. 6 May 1956.
    102. ^ Jeffers, Jennifer M. Beckett’s Masculinity. Springer (2016) ISBN 9780230101463 p. 98
    103. ^ Katz, Allan. “Waiting for Godot at the Charles Playhouse”. The Harvard Crimson. 28 November 1960.
    104. ^ Mailer, Norman. Advertisements for Myself. Harvard University Press (1959). ISBN 978-0674005907. p. 324
    105. ^ Meeting with Linda Ben-Zvi, December 1987. Quoted in “Introduction” to Ben-Zvi, L., (ed.) Women in Beckett: Performance and Critical Perspectives (Urbana and Chicago: University of Illinois Press, 1992), p. x.
    106. ^ “Wachten op Godot – Stichting Toneelschuur Producties – 1988-04-12″. theaterencyclopedie.nl (in Dutch). Archived from the original on 8 August 2018. Retrieved 29 March 2018.
    107. ^ Knowlson, James, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p. 610.
    108. ^ “Judge Authorizes All-Female Godot“. The New York Times. AP. 6 July 1991. Archived from the original on 6 October 2021. Retrieved 6 October 2021.
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    111. ^ “À Espera de Godot · São João”. Retrieved 24 September 2024.
    112. ^ Knowlson, James, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), pp. 386, 394
    113. ^ Ruby Cohn on the Godot Circle in Knowlson, James and Elizabeth, (Eds.) Beckett Remembering – Remembering Beckett (London: Bloomsbury, 2006), p. 122
    114. ^ Beckett, Samuel (2012). Waiting for Godot: A Tragicomedy in Two Acts. London: Faber & Faber. Table of Dates. ISBN 978-0571297016. Archived from the original on 21 May 2024. Retrieved 21 October 2020.
    115. ^ Beckett, Samuel (1952). En attendant Godot. Paris: Les Éditions de Minuit. Printer’s Notice at rear of the first edition states “achevé d’imprimer sur les presses de l’imprimerie habauzit a Aubenas (Ardèche), en septembre mil neuf cent cinquante deux. Dépôt légal 3e trimestre 1952”.
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    118. ^ Cohn, Ruby, From Desire to Godot (London: Calder Publications; New York: Riverrun Press), 1998, pp. 153, 157
    119. ^ Knowlson, James, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), pp. 387, 778 n. 139
    120. ^ Interview with Jean Martin, September 1989. Referenced in Knowlson, James, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), pp. 386, 387
    121. ^ Birkett, Jennifer (2017). Undoing time: the life and work of Samuel Beckett. Newbridge, Co. Kildare, Ireland: Irish Academic Press. p. 122. ISBN 978-0-7165-3290-3.
    122. ^ Dumontet, Mathilde (2020). “Concurrence Économique et Interénétration Artistique dans La Parodie et En Attendant Godot de Roger Blin”. European Drama and Performance Studies (in French) (14): 129–144 – via EBSCOhost.
    123. ^ Letter from an unnamed Lüttringhausen prisoner, 1 October 1956. Translated by James Knowlson. Quoted in Knowlson, J., Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p. 431
    124. ^ Jump up to:a b Knowlson, James, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), pp. 410, 411
    125. ^ A farmer in Roussillon, the village where Beckett fled during World War II; he never worked for the Bonnellys, though he used to visit and purchase eggs and wine there. See Cronin 1997, p. 333
    126. ^ Ackerley & Gontarski 2006, pp. 622, 623.
    127. ^ An expression coined by Beckett in which he makes the “meaning” less and less clear at each draft. A detailed discussion of Beckett’s method can be found in Pountney, R., Theatre of Shadows: Samuel Beckett’s Drama 1956–1976 (Gerrards Cross: Colin Smythe, 1988) although it concentrates on later works when this process had become more refined.
    128. ^ Jump up to:a b Klein, Alvin (2 November 1997). “Decades Later, the Quest for Meaning Goes On”. The New York Times. Archived from the original on 24 July 2020. Retrieved 4 June 2019.
    129. ^ Ackerley & Gontarski 2006, pp. 620, 621.
    130. ^ Bair 1990, p. 471.
    131. ^ Letter released under the Freedom of Information Act. Quoted by Peter Hall in ‘Godot Almighty Archived 21 May 2024 at the Wayback Machine‘, The Guardian, 24 August 2005
    132. ^ Bair 1990, p. 613.
    133. ^ Peter Woodthorpe on the British première of Waiting for Godott in Knowlson, James and Elizabeth, (Eds.) Beckett Remembering – Remembering Beckett (London: Bloomsbury, 2006), p. 122
    134. ^ Bull, P., I know the face but …, quoted in Casebook on ‘Waiting for Godot, pp. 41, 42. Quoted in Knowlson, J., Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p. 414
    135. ^ Knowlson, James, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p. 415
    136. ^ Peter Hall looks back at the original Godot Archived 6 October 2007 at the Wayback Machine, Samuel-Beckett.net
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    140. ^ Jump up to:a b Bradby 2001, p. 93.
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    142. ^ Wood, Jane (3 January 1956). “Millionaire’s Magic Wand Transforms Grove Theater”. Miami News. p. 25A. Archived from the original on 3 February 2022. Retrieved 3 February 2022 – via Newspapers.com.
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    150. ^ Jump up to:a b Graver 2004, p. 17.
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    153. ^ Bradby 2001, p. 94.
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    158. ^ Bradby 2001, p. 101.
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    210. ^ SB to Jérôme Lindon, 18 April 1967. Quoted in Knowlson, J., Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p. 545
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