Cezaris Graužinis
Samuel Beckett, Waiting for Godot
“Nothing is more real than nothing”. Samuel Beckett applies Democritus’ maxim to the theatre and rewrites the rules of dramaturgy in the process. Waiting for Godot (1953) on a deserted country road with a bare-branched tree, two pariah/clowns, characters without a role, talk and mess around to “keep silence in the corner”. One busies himself with his hat, the other with his shoe (the dualism between spirit and body?), while a second pair represent the co-dependent master / servant duo.
A negative parable and a metaphysical farce with elements borrowed from the circus and the music hall and a God-ot who never shows up, the work was written by the great Irishman in French. It is performed here by a talented company made up of the Lithuanian director, Cezaris Graužinis, and a cast of Greek actors. [D.Κ.]
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