Vol. 7, Issue 2, Part F (2025)

Samuel Beckett’s Waiting for Godot (1952) is a seminal work of absurdist theatre that challenges traditional notions of plot, character development, and especially, the passage of time. Time in Waiting for Godot is not linear or goal-oriented, but circular, ambiguous, and often meaningless, reflecting the existential condition of the characters and, by extension, of humanity. The protagonists, Vladimir and Estragon, are trapped in an endless cycle of waiting for the mysterious Godot, whose arrival is perpetually deferred. This stagnant temporality underscores the futility of human expectations and the psychological toll of prolonged waiting. Beckett uses repetitive dialogue, cyclical structure, and minimal action to emphasize the static nature of time, portraying it as a burdensome force that both stretches and collapses under the weight of uncertainty. Through this, Waiting for Godot becomes a meditation on time as a central existential dilemma—where the act of waiting becomes synonymous with living, and the future, always anticipated, never arrives. The play ultimately exposes the fragility of human hope when set against an indifferent and unknowable temporal void.