 |
Estragon (affectionately Gogo; he tells Pozzo his name is Adam) is one of the two main characters from Samuel Beckett's Waiting for Godot . His name is the French word for tarragon.
| |
Estragon (affectionately Gogo; he tells Pozzo his name is Adam) is one of the two main characters from Samuel Beckett's Waiting for Godot . His name is the French word for tarragon.
Estragon represents the impulsive, simplistic side of the two main characters, much in contrast to his companion Vladimir's careful intellectualism and verbosity. He cares little for appearances, and is mostly concerned with eating and sleeping (much to Vladimir's chagrin). Due to his pessimistic outlook on life, he has abandoned all hope of any alleviation from their suffering, and regards "Godot" suspiciously.
This is perhaps because Estragon has far more to worry about. Of the two, Estragon suffers the most physically. He is kicked by Lucky, takes numerous pratfalls, and is beaten by a gang of thugs every night. He also has great difficulty with his boots. In the first act, they do not fit and cause him pain. At the end of the act, he leaves them on the side of the road in disgust. In the second act, he finds them in the same place, now mysteriously fitting him. This boot focus (in terms of the character being foot centred) may be interpreted as being representative of his lower status (see Vladimir's hat) and his "earthy" nature (e.g. his love of carrots, radishes, etc.).
Estragon has a misanthropic view of humanity: he considers people to be "ignorant apes" and seems to want them to leave him alone. However, he is very attached to Vladimir (despite occasionally bickering with him): he needs protection, and Vladimir provides it. Estragon is often seen as the child to Vladimir's adult, and as such looks for parental security in him.
Estragon should not, however, be written off as merely a childish simpleton. He easily matches Vladimir in verbal melee (he delivers the ultimate insult in calling Vladimir a "Critic!"). He also shows an artistic side, and even claims to have once been a poet. His brief, but evocative, monologue about the "maps of the Holy Land" is very poetic in nature. He can even quote Shelley (with a slight alteration):
Excerpt from Shelley's poem:
"Art thou pale for weariness/Of climbing heaven and gazing on the earth..."
Estragon's play on it:
"Pale for weariness...Of climbing heaven and gazing on the likes of us."
Estragon is given perhaps the most minimal description in the play. He is only described as wearing "rags", walking with a limp (that eventually wears off) and being lighter than Vladimir. Because of his rather gluttonous nature, however, he is often played as being short and slightly fat (in comparison to the often tall and lanky Vladimir). His clothes are usually a bit dirtier than Vladimir's as well, and seem to be in far worse condition. This interpretation is best attributed to his total lack of restraint and inhibitions (diving for food, sleeping in ditches, etc.).
Many famous actors have taken on the role (especially those of the aforementioned body type), notably Bert Lahr, Sir Ian McKellen and Robin Williams (with Steve Martin as Vladimir). Beckett is even said to have wanted Marlon Brando in one production (with Buster Keaton as Vladimir). [1]
In Tom Stoppard's Godot pastiche, Rosencrantz & Guildenstern Are Dead , the character Rosencrantz closely resembles Estragon.
Samuel Barclay Beckett was an Irish novelist, dramatist, short story writer, theatre director, poet, and literary translator. His literary and theatrical work features bleak, impersonal and tragicomic experiences of life, often coupled with black comedy and nonsense. His work became increasingly minimalist as his career progressed, involving more aesthetic and linguistic experimentation, with techniques of stream of consciousness repetition and self-reference. He is considered one of the last modernist writers, and one of the key figures in what Martin Esslin called the Theatre of the Absurd.
Waiting for Godot is a play by Irish playwright Samuel Beckett in which two characters, Vladimir (Didi) and Estragon (Gogo), engage in a variety of discussions and encounters while awaiting the titular Godot, who never arrives. Waiting for Godot is Beckett's reworking of his own original French-language play, En attendant Godot, and is subtitled "a tragicomedy in two acts".
The theatre of the absurd is a post–World War II designation for particular plays of absurdist fiction written by a number of primarily European playwrights in the late 1950s. It is also a term for the style of theatre the plays represent. The plays focus largely on ideas of existentialism and express what happens when human existence lacks meaning or purpose and communication breaks down. The structure of the plays is typically a round shape, with the finishing point the same as the starting point. Logical construction and argument give way to irrational and illogical speech and to the ultimate conclusion—silence.
Act Without Words I is a short play by Samuel Beckett. It is a mime, Beckett's first. Like many of Beckett's works, the play was originally written in French, being translated into English by Beckett himself. It was written in 1956 following a request from the dancer Deryk Mendel and first performed on 3 April 1957 at the Royal Court Theatre in London. On that occasion it followed a performance of Endgame. The original music to accompany the performance was written by composer John S. Beckett, Samuel's cousin, who would later collaborate with him on the radio play Words and Music.
Absurdist fiction is a genre of novels, plays, poems, films, or other media that focuses on the experiences of characters in situations where they cannot find any inherent purpose in life, most often represented by ultimately meaningless actions and events that call into question the certainty of existential concepts such as truth or value.
Play is a one-act play by Samuel Beckett. It was written between 1962 and 1963 and first produced in German as Spiel on 14 June 1963 at the Ulmer Theatre in Ulm-Donau, Germany, directed by Deryk Mendel, with Nancy Illig (W1), Sigfrid Pfeiffer (W2) and Gerhard Winter (M). The first performance in English was on 7 April 1964 at the Old Vic in London. It was not well-received upon its British premiere.
Film is a 1965 short film written by Samuel Beckett, his only screenplay. It was commissioned by Barney Rosset of Grove Press. Writing began on 5 April 1963 with a first draft completed within four days. A second draft was produced by 22 May and a 40-leaf shooting script followed thereafter. It was filmed in New York City in July 1964. Beckett and Alan Schneider originally wanted Charlie Chaplin, Zero Mostel and Jack MacGowran, however they eventually did not get involved. Beckett then suggested Buster Keaton. James Karen, who was to have a small part in the film, also supported having Keaton. The filmed version differs from Beckett's original script but with his approval since he was on set all the time, this being his only visit to the United States, as stated in the script printed in Collected Shorter Plays of Samuel Beckett.
Ohio Impromptu is a "playlet" by Samuel Beckett.
Krapp's Last Tape is a 1958 one-act play, in English, by Samuel Beckett. With a cast of one man, it was written for Northern Irish actor Patrick Magee and first titled "Magee monologue". It was inspired by Beckett's experience of listening to Magee reading extracts from Molloy and From an Abandoned Work on the BBC Third Programme in December 1957.
Vladimir is one of the two main characters from Samuel Beckett's Waiting for Godot.
Rosencrantz and Guildenstern are characters in William Shakespeare's tragedy Hamlet. They are childhood friends of Hamlet, summoned by King Claudius to distract the prince from his apparent madness and if possible to ascertain the cause of it. The characters were revived in W. S. Gilbert's satire, Rosencrantz and Guildenstern, and as the alienated heroes of Tom Stoppard's absurdist play, Rosencrantz and Guildenstern Are Dead, which was adapted into a film.
Pozzo is a character from Samuel Beckett's play Waiting for Godot. His name is Italian for "well".
Lucky is a character from Samuel Beckett's Waiting for Godot. He is a slave to the character Pozzo.
Act Without Words II is a short mime play by Samuel Beckett, his second. Like many of Beckett's works, the piece was originally composed in French, then translated into English by Beckett himself. Written in the late 1950s it opened at the Clarendon Press Institute in Oxford and was directed by John McGrath. London premiere was directed by Michael Horovitz and performed at the Institute of Contemporary Arts, on 25 January 1960. The first printing was in New Departures 1, Summer 1959.
Quad is a television play by Samuel Beckett, written and first produced and broadcast in 1981. It first appeared in print in 1984 where the work is described as "[a] piece for four players, light and percussion" and has also been called a "ballet for four people."
From An Abandoned Work, a "meditation for radio" by Samuel Beckett, was first broadcast on BBC Radio 3’s Third Programme on Saturday, 14 December 1957 together with a selection from the novel Molloy. Donald McWhinnie, who already had a great success with All That Fall, directed the Irish actor Patrick Magee.
Ghost Trio is a television play, written in English by Samuel Beckett. It was written in 1975, taped in October 1976 and the first broadcast was on BBC2 on 17 April 1977 as part of The Lively Arts programme Beckett himself entitled Shades. Donald McWhinnie directed with Ronald Pickup and Billie Whitelaw. The play's original title was to be Tryst. "On Beckett’s notebook, the word was crossed out vigorously and the new title Ghost Trio written next to it. On the title page of the BBC script the same handwritten title change can be found, indicating that it must have been corrected at the very last minute."
Robert Goody was a British actor, librettist, writer and former member of the Royal Shakespeare Company.
While Waiting for Godot is a web series adaptation of Samuel Beckett’s play En Attendant Godot. It is the winner of Best Cinematography at the 2014 Rome Web Awards, and an Official Selection of the 2014 Miami Web Fest.
Minoru Betsuyaku was one of Japan's most prominent postwar playwrights, novelists, and essayists, associated with the Angura ("underground") theater movement in Japan. He won a name for himself as a writer in the "nonsense" genre and helped lay the foundations of the Japanese "theater of the absurd." His works focused on the aftermath of the war and especially the nuclear holocaust.
Sources