To What Extent Does ‘Waiting for Godot’ Challenge the Conventions of Its Genre?

To what expiration does Waiting for Godot challenge the conventions of its genre? Waiting for Godot by Samuel Beckett for the most part ignores the standard conventions of theatre. To challenge these conventions Beckett utilises a circular plot, provides only obliterate hints to where and when the play is set, breaks the fourth wall all too regularly and explores themes that were previously obscured from mainstream theatre. A key difference between Becketts text and others of its genre is its use of a circular plot. This is paralleled by the conversations between characters, which have little meaning and ultimately go nowhere: Pozzo: And thank you. Vladimir: Thank you. Pozzo: Not at all. estragon: Yes yes. Pozzo: No no. Vladimir: Yes yes. Estragon: No no. The plot has no factual climax, drama or suspense to it, which is one of the techniques Beckett uses to challenge internal representation conventions. Obscure, nonsensical hints such as when Vladimir states, we should have thought of it a million years ago in the nineties, are the only information that is provided to the reader about the date, time and set of the text.

We can only guess they are somewhere in Europe post 1889 from the comment Vladimir makes Hand in happen from the… Eiffel Tower, among the first.. When Estragon replies eleven after being asked how old he thinks Vladimir is, it adds to the audiences uncertainty surrounding the supposed age of the characters and more mainly whether were supposed to take their physical appearance Is this the beneficial essay for you? Watch the video below to read 2 more pages now. or If you want to get a right essay, order it on our website: Orderessay

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