The characters, Vladimir, and Estragon show a number of realistic humanistic faults such as, the human tendency to spread rumors about others and tendency of repeating each others words and actions. Beckett comments on the continuous and repetitive actions of humans in the society at the time through the movement of the characters. In the play, Waiting for Godot, the movement of the characters are eccentric and heightened and there is a large variety in rhythm and pace used. By using the comic effect of the characters as a tool to allow audiences to search for a true deeper meaning, Beckett evokes change in the perspective of people in society at the time. The conclusion that can thus be drawn is that Estragon symbolizes the human body, whereas Vladimir symbolizes the human mind and in unity create a representation of humankind. Throughout the duration of the play Estragon focuses on the physical aspects in situations whilst Vladimir’s focuses on intellectual aspects of situations inhibiting them from adequate communicating and connected which each other, which forms a key theme explored in the play. In the opening scene of Waiting for Godot, Estragon struggles take off his boots and declares out of angst, “Nothing to be done.” Vladimir then responds by saying “I’m beginning to come round to that opinion.” The use of the play on words in this scene evokes a comedic effect on the audience, as Estragon is referring to the physical struggle of taking off his boot, whereas Vladimir is referring to the philosophical struggle that they have nothing to do but wait.

In the play, Waiting for Godot, the pair of clown-like tramps, Estragon and Vladimir, often engaged in linguistic games, ritualistic behavior and improvised action that lead to nothing. The characters in Absurdist plays were a strong contrast to the fixed and psychologically convincing characters shown in Realism, as the Absurdist characters were dull and lacked identity and character development. By exposing the lack of meaning in everyday life, Theatre of The Absurd, voiced innovation in the society at the time by forcing audiences to question the meaning of their existence thus evoking change in the perception, attitude, and behavior of millions of people across the world. In the play, Waiting for Godot, Samuel Beckett deconstructed the conventional structure and development of literary theatrical elements such as plot, theme, dialogue, and character to comment on the human condition of the society after World War 2. Theatre of the Absurd arose from the existentialist philosophy, with the purpose of exposing the lack of meaning in the everyday life of the society at the time to provoke the need for change. As a result, a theatrical shift took place in which playwrights moved away from the objective aim of realism theatrical approach to explore the subjective attitudes and inner conflict that plagued people following World War 2. After World War 2 there was a rise in political tension, societal changes and the decline of religious faith.

One of a pair in waiting for godot