긍정의 미학: 샤뮈엘 베케트의 『고도를 기다리며

서길수 신영어영문학회 2023 신영어영문학 Vol.85 No.-

This paper aims to examine the positive aspects in Waiting for Godot. To analyze the play we have to consider two World Wars. In the post-war period, emotions such as pessimism and helplessness were experienced intensely. Waiting for Godot is famous for purposeless characters and meaningless actions. As the play indicates, the central act of the play is waiting. Vladimir and Estragon wait for Godot who, they believe, can save them from their painful lives. The identity of Godot has been the subject of much debate. Waiting for Godot is filled with a great deal of mental and emotional suffering. As a result of this endless suffering, Vladimir and Estragon are ‘bored to death’. They think that Godot will come and change their lives. Godot is the promise that kindles their hope at every moment of despair. Without hope, there is nothing in life. The play ends with nothingness but ‘wait and hope’ never ends. Like Vladimir and Estragon, we wait for our Godot. And wait. Beckett emphasizes the vision of life through Boy, Godot’s messenger. Even if Waiting for Godot was written in 1952, its characters are still relevant in modern times.

A Conversation-Analytic Approach to Repetition in Waiting for Godot

김해연 한국텍스트언어학회 2008 텍스트언어학 Vol.24 No.-

Repetition is prevalent not only in literary works but also in ordinary conversation. This research examines types and functions of repetition from an interactional perspective in Waiting for Godot, a modern play written by S. Beckett (1954). Adopting notions and methodology of conversation analysis (CA), this research provides a CA-based analysis of repetition in the play. After discussing the plot and explanations of the play, this research shows that repetition is one of the major devices for creating the “absurdity and meaninglessness of life,” which is symbolically represented in terms of “waiting for Godot.” To show that, this study explores functions of repetition in a local domain in the following terms:(i) initiating repair, (ii) mimicking or imitating prior utterances, and (iii) signaling the speaker's emotional attitudes or stance. This study also shows that ‘WAIT FOR GODOT’ functions as a global theme for the play. Exploration of the functions of repetition in the play shows the roles of repetition as devices for creating special effects and signalling the writer's intention, creating in the mind of the audience feelings such as meaninglessness of everyday life, alienation, and dreariness. Finally, this research shows that an interactional approach can be usefully applied to an analysis of conversations in literary works (eg, novels and plays).

Waiting for Godot의 시간 —기억, 습관의 현재, ‘사이’의 시간

윤화영 한국현대영미드라마학회 2012 현대영미드라마 Vol.25 No.3

Main concern of this essay is to identify and discuss the different concepts of time which the four characters of Waiting for Godot profess or signify during the course of the play. The argument begins with the proposition that the most fundamental conflict of Waiting for Godot occurs between the two contrasting images of mobility and immobility which reflect the aporia faced by the post war intelligentsia. Pozzo and Lucky’s relentless movement toward the unseen Marché de Saint-Sauveur is driven by their belief in the progress and the panacea promised by the development of modern technology and industry, in an inseparable alliance with the power of market. Their mobility contrasts with the static, self-reflecting post war consciousness of Estragon and Vladimir. Surrounded by threatening others and lacking in positive initiation for the suffering others, their everyday existence as such consists in habitus-present, which Gilles Deleuze defines as one of the characteristics of modern time. In Waiting for Godot, both of the blind belief in the future (progress) and the reactive memory of the past deprive them of the positive power to act. Curiously, it is Estragon, without memory of the past promise or illusory expectation for the future, who stands out to be the one character of the play whose notion of time does not change throughout the play. He allegorically personifies or is tantamount to the artistic principle of the play which can be summarized to be ‘the in-betweenness’, the ‘perhaps’ principle, or the undeterminable 50/50 ratio of the virtual coexistence of the possible.

An Explanation of Waiting for Godot in Quantum Mechanics

LiLi 동국대학교 영어권문화연구소 2020 영어권문화연구 Vol.13 No.2

On Samuel Beckett's Waiting for Godot, everyone explains the existence of Godot differently, which makes the superposition of Godot. And from the point of view of quantum mechanics, microscopic particles may be in a superposition state, which means things are always in an uncertain state of “superposition” or “collapse” according to the human consciousness. After introducing the concept of quantum mechanics, the paper uses the Schrodinger's cat, a famous experiment of quantum mechanics, to conduct in-depth exploration. In the experiment, cats exist in closed boxes, and no one knows whether they have changed or if they have had quantitative changes. No one knows what's going to happen before the box is opened, and it is uncertain whether there will be changes when the box is opened. The uncertainty of quantum mechanics affects people's thinking. Hence the paper attempts to explore Beckett's Waiting for Godot for the uncertainty of the entanglement waiting process by quantum mechanics by analyzing Godot as a stacked-up cat.

‘모자’와 ‘장화’ 벗기

강용기(Yongki Kang) 한국동서비교문학학회 2017 동서 비교문학저널 Vol.0 No.39

In Samuel Beckett’s Waiting for Godot, the main characters’ hat and boots allegorize skandhas (five aggregates) that are supposed to compose the self; their hat seems to represent samjna (perceptions), sankhara (mental activity or formations) and vijnana (consciousness) while their boots, rupa (form) and vedana (sensations). And Godot might be seen as the essence of the self. Then, Vladimir and Estragon’s hopeless waiting for Godot implies that they do not possibly fulfill their essential self-identity. As well-known, the Buddhist view of self, rejecting any inherent components of the human self, asserts that the five aggregates constitute the human being’s mental and physical existence. And suffering arises when humans cling to the aggregates. Then, because the main characters do not stop waiting for Godot, they cannot evade despair and mental instability. However, there is a Buddhist hole through which they can escape; Pratityasamupata (the Buddhist theory of dependent arising) allows the human beings to be freed from sufferings that arise when they identify with the five aggregates. Then, Vladimir and Estragon would fulfill freedom when they quit their hopeless waiting. In other words, they can ‘move’ when they realize the dharma that their self (skandhas) is in a ceaseless process of dependent interaction with other selves.

부조리극과 디아스포라의 언어: 사뮈엘 베케트의 『고도를 기다리며』를 중심으로

김익진 중앙대학교 문화콘텐츠기술연구원 2023 다문화콘텐츠연구 Vol.- No.46

After World War II, the movement of diaspora in Europe became a culturalicon. The cultural approach to Western Europe through the foreign perspectiveof Derrida and Levinas, who were part of the 20th century diaspora, waspart of the objectification of Western European values. Samuel Beckett's Enattendant Godot is a major feature of this mouvement. Beckett succeeded in creating a new play. Unlike Sartre shouting ‘engagement’and Camus shouting ‘resistance’ through his works, Beckett does not shoutanything in En attendant Godot . It does not explain absurdity to us throughexisting theatrical language, but allows us to directly experience absurditythrough a new form of unfamiliar language. Watching En attendant Godotis not an understanding of absurdity, but an experience of absurdity. In watching“Waiting for Godot,” the audience’s logical reason does not play any role. The logic was expressed through language. However, the new theatricallanguage, French, which was dismantled and reconstructed through Beckett,a foreigner, has no logic. But the language served as a stronger message thanlogic. It is the audience's emotions that act in this way. In this way, a newtheatrical language was born, and that language created a new play. 2차 대전 이후 유럽 내에서 디아스포라의 움직임은 하나의 문화적 아이콘이 되었다. 본인들이 20세기적 디아스포라였던 데리다나 레비나스의 이방인적 시각을 통한 서구 유럽에 대한 문화적 접근은 모든 것의 중심이었던서구유럽적 가치에 대한 객관화 작업의 일환이었다. 사뮈엘 베케트의 작품세계에서도 이같은 객관화 작업 혹은 거리화 작업이라고 부를 수 있는 글쓰기 작업이 그의 작품에 가치를 부여할 수 있는 주요 특징이 된다. 베케트는 기존 연극 언어를 모두 해체해 그것이 추구하던 본질적 가치를확인한 후 그 본질적 가치를 실현할 다른 방식의 언어를 창출한다. 기존의연극 언어로 보면 베케트의 언어는 연극에서 부조리한 것이지만, 그 조리와부조리를 나누는 것은 연극 언어에 대한 기존의 규범이었다. 그 규범은 극작법의 틀 속에서 법칙으로 더 강화되기도 했다. 그러나 그것은 사실 권고였을 뿐 결코 강제는 아니었다. 자신이 추구하던 본질적 가치가 다른 방식으로도 실현될 수 있음을 인정해야 하기 때문이다. 그러나 기존 연극은 원칙이라는 외형을 더 중시했고 형식은 본질에서 떨어져 나와 의미를 잃어버리고 말았다. 모든 해체주의자들은 이런 껍데기만 남은 법칙을 가장 경계한다. 그리고 외형적 법칙들을 해체하며 그 법칙이 생겨난 이유를 다시 확인하고 그 이유가 진정한 가치라고 판단되면 기존의 법칙을 벗어나 다른 방식으로 그 진정한 가치를 실현하는 방식을 제시한다. 베케트의 연극적 언어도바로 이런 기성 연극 언어의 조리에 대한 일종의 해체주의적 실험이었고그는 단순히 실험에 그치지 않은 채 새로운 연극 언어를 생산하는 데 성공했다. 그의 언어는 의미없는 언어가 아니다. 『고도를 기다리며』의 언어는기존 연극 언어의 조리에 대한 반조리를 제시하며 재구성된 새로운 연극언어를 창출해내기 위한 해체적 실험이었다. 결국 베케트는 새로운 연극의 창출에 성공했다. 사르트르가 자신들의 작품을 통해 ‘참여(engagement)’를 외치고 카뮈가 ‘저항(révolte)’을 외치는 것과 달리 베케트는 『고도를 기다리며』에서 아무 것도 외치치 않는다. 『고도를 기다리며』는 기존의 연극적 언어를 통해 우리에게 부조리를 설명하는것이 아니라 새로운 형태의 낯선 언어를 통해 부조리를 직접 경험하게 한다. 『고도를 기다리며』의 관람은 부조리에 대한 이해가 아니라 부조리에 대한체험이다. 『고도를 기다리며』의 관람에서 관객들의 논리적 이성은 아무 역할을 하지 못한다. 기존의 조리, 즉 논리는 기존의 조리에 맞는 언어를 통해표현되었다. 하지만 외국인인 베케트를 통해 해체되었다 재구성된 프랑스어인 새로운 연극 언어에는 논리가 없다. 하지만 그 언어는 논리보다 더강한 전언으로 작용했다. 그 작용에 동작하는 것은 관객들의 감성이다. 그렇게 새로운 연극언어가 탄생했고 그 언어는 새로운 연극을 구성해 내었다.

공동체 미술의 교육적 역할 -폴 챈의 <고도를 기다리며>를 중심으로

고윤정 ( Yoon Jeong Koh ) 한국기초조형학회 2015 기초조형학연구 Vol.16 No.2

공동체 미술은 최근에 교육론에서 논의되고 있는 인류학적인 조사 방법론의 이론을 받아들이면서 학제간 교류를 넘어실천 방법이 구체화되고 있다. 기본적으로 지역에 대한 조사를 기반으로 접촉-조사-실행-피드백-교육의 과정을 통해 공동체의 일원을 대면하는 절차가 포함이 되는 데, 이 방법론의 중심에는 ‘대화’가 있다. 본래 파울로 프레이리가 주장했던 억압된 민중을 해방시키는 교육방법론을 파블로 엘게라의 <사회참여예술이란 무엇인가>에서와 같이 큐레이터들이 받아들이면서 공동체 미술 프로젝트에 교육적 성격이 더해지고 있는 것이다. 나토 톰슨, 그랜트 케스터 등의 이론가들은 공동체 미술은 미술관 교육이나 교실에서의 교육과는 다르게 수행적이고, 협동적이어야 하며, 열린 자세여야 한다는 것을 주장한다. 한편 뉴욕을 기반으로 활동하는 예술가인 폴 챈은 공동체 미술 교육을 실천하는 대표적인 행동주의적 예술가로서 2006년에 카트리나가 휩쓸고 간 뉴올리언즈를 방문한 이후의 도시공동체에 대한 문제의식을 느끼고, <고도를 기다리며>라는 연극을 기획하게 된다. 폐허가 된 도시에서 끊임없이 희망을 기다리는 내용은 정치적, 사회적으로 외면당하고 있는 뉴올리언즈의 상황을 여실히 보여 주었으며, 연극이 성공적으로 개최되기까지 약 8개월에 걸쳐서 폴 챈은 지역 예술가들과 함께 장기간의 조사, 주민들에 대한 현대 미술 교육 프로그램, 포트럭 파티 등 직접적인 접촉을 기반으로 한 행사를 열었다. 뉴올리언즈의 도심을 무대삼아 기획된 연극을 통해 시민들은 트라우마를 치유하고, 도시 재건에 대한 의식을 갖게 되었으며, 연극을 계기로 도시에는 출판, 다큐, 건축 등의 많은 재건활동이 시작되었다. 친밀감과 대화를 통한 각종 교육활동들은 이같이 도시와 시민들을 비물질적으로 연결해주는 역할을 하였다. Community art became more specific with the research guide of cultural anthropology and pedagogy. Basically in this case community art include local reseach and question investigation strongly. And diverse conversation is the fundamental methodology of the community art field. Community artists practice more concrete guide because of these new methodology that is systematized by Pablo Helguera who worked for MOMA in “Education for socially engaged art”. In addition, Nato Thompson and Grant Kester developed community art education theory for long time. They insist community art education is different with classroom education or museum education. According their theory community art education is emphasize on performative, collaborative and open mind. Paul Chan is a successful artist who practiced the political art project in New York. He visited New Orleans after Hurricane Katrina in 2006. He decided stayed the city with new community based art project, “Waiting for Godot in New Orleans”. This project combined the ruined situation of New Orleans and Samuel Beckett``s famous play “Waiting for Godot”. This play means waiting useless hope for long time. This play include workshop with local artist, door-to-door speaking with resident, comtemporary art theory education in university classroom, potluck party. These event means the community art project include not only place but socially engaged in a process of various conversation and face to face education.

關於高行健早期實驗劇≪車站≫的幾點斷想

한혜경 ( Hae Kyung Han ) 중국어문연구회 2011 中國語文論叢 Vol.0 No.51

Gao, Xing-jian led experimental theatre movement in 1980s, overcame the negative effects of traditional realism theater and received wide attention by experimental theatre works with new fresh contents and form. In particular, Bus-Stop is the work that prepared a new turning point in experimental theatre in 1980s and was inspired a lot from Western drama works and theories. Therefore, in order to understand his early experimental theatre properly, relevance with Western literature should be examined. Taking Bus-Stop as the research target, this thesis attempted to explore a part of experimental spirit that he wanted to pursue by studying in what way he creatively expressed Western drama works and theories in his work and studied educational function and meaning of Bus-Stop seen through Chinese Modern Drama class. For this, this thesis studied by comparing absurd theater realism of Harold Pinter and Bus-Stop, the theater of the absurd of Beckett and Bus-Stop, epic drama of Brecht and Bus-Stop and explored educational meaning of Korea on Chinese Modern Drama education in some respects such as appreciation and analysis, demonstration etc. Gao, Xing-jian, who wanted to escape from the rigid theater system of Ibsen- Stanislavsky, led active changes doing experimental attempts by operating various techniques of Brecht epic drama, for example, estrangement effect or defamilarization technique etc. Also, It has received considerable impact from the theater of the absurd of Beckett, Waiting for Godot. However, Bus-Stop was similar with Waiting for Godot in terms of operating the expression technique of he theater of the absurd and the theme of waiting but showed a significant difference in the development of a theme. Therefore, Bus-Stop is the work which absorbed the expression technique of the theater of the absurd and tradition of Chinese Modern Drama and embodied it into realistic life lyrical farce reflecting the contemporary reality, not a simple imitation of Waiting for Godot. A point of sameness can be found in the sense that Harold Pinter also aims for absurd theater realism and it is very interesting in the sense that Harold Pinter has the work whose title is the same as Bus-Stop. Though it takes the form of very short sketch, it reflects cynical era situation of England after the Second World War and therefore, it is worth appreciating comparing with Gao, Xing-jian`s Bus-Stop which describes the appearance of the outskirts of the Chinese society after reform and opening up. The interesting thing is different time circumstances of both countries are shown in the same background, a bus stop. It cannot be seen that which influence relationship exists between the two but the common point is that both works have a realistic element reflecting the contemporary reality. In conclusion, Bus-Stop by Gao, Xing-jian is the work representing experimental theatre of China in the early 1980s and the meaning can be found in the sense that it is the work of unique style that absorbed and united Western drama literature theory and ideology in the way of Gao, Xing-jian and operated and made various techniques of Chinese traditional art.

Waiting for Godot의 시간

윤화영(Yoon, Hwayoung) 한국현대영미드라마학회 2012 현대영미드라마 Vol.25 No.3

사무엘 베케트 作 『고도를 기다리며』의 ‘럭키’ 연기접근 방법 연구 - 루스 자포라의 액션 시어터를 적용한 실제 프로덕션 중심으로 -

이채영,조준희 한국엔터테인먼트산업학회 2023 한국엔터테인먼트산업학회논문지 Vol.17 No.6

사무엘 베케트(Samuel Beckett)의 『고도를 기다리며』(En Attendant Godot)는 인간의 부조리한 삶의 모습을 무대 위에 올려놓은 부조리극이다. 의사소통의 부조리성이 부각시키는 일상성의 특성과 관객의 능동적인 의미 창발에서 수행적 특성을 드러낸다. 『고도를 기다리며』에 나타나는 부조리함과 무한의 반복성을 시뮬라크르적 일상성으로 해석하였으며, 더 나아가 극중 인물 ‘럭키’를 시뮬라크르적 캐릭터로 구축하여 형상화하고자 하였다. 이를 형상화하는 과정에서 루스 자포라의 액션시어터를 도입하였다. 자포라의 즉흥 훈련들을 적용해‘움직임의 자발성을 통한 럭키의 행동 구체화’, ‘오브제의 물질성 변환을 통해 구축된 럭키의 시뮬라크르적 캐릭터’의 특성을 도출했다. 본 연구는 『고도를 기다리며』의 시뮬라크르적 일상성의 특성을 고찰하고 럭키의 시뮬라크르적 캐릭터를 창조하는 과정을 실제 프로덕션을 통해 검증하였다는 점에서 의의가 있다고 할 수 있다.