On the eve of “World War II”, Beckett met a homeless man. The homeless man asked him for money, but he didn’t give it. The homeless man wounded Beckett. Later, Beckett went to the prison to see the tramp, and asked him why he did it. The tramp responded: “I don’t know.”
I don’t know if this tramp inspired Beckett, but obviously, “the tramp” and “Don’t know” constitutes the key word of “Waiting for Godot”. In 1958, when the play was staged in the United States, the director asked Beckett: “What exactly does this Godot represent?” He also responded: “I don’t know.” Then he explained, “If I knew, I would have said in the play Come out. “In
my first year in college, when I first read” Waiting for Godot “, Beckett was still alive, but it was already the last year of his life. The English teacher watched me read Beckett and was very encouraged. He said, “Gordo is a mystery.” In response to the teacher’s words, I struggled to read a lot of related comments. I think there is still a comparison with the absurd nature of the play. Deep understanding.
However, on November 16, 2014, I sat at the Dramatic Arts Center in Anfu Road to watch the “Waiting Godot” brought by the Irish St. Laza Theatre Company to the Shanghai Contemporary Theatre Festival. All I felt when I read this drama 25 years ago Absurd, but inexplicably turned into a touch. The relationship between Gago and Didi was interpreted as “the state of isolation and indifference between people” in all the comments of that year, but the two homeless people on the stage, the fat Gago and the thin Although Di Di still waited blankly and muddledly waiting for Godot, when they were together, they were not only indifferent, but also very loving.
In the cold wind, Ge Ge fell asleep, Di Di took off his coat and draped over Ge Ge, he moved his hands and feet to warm himself in the turbulent autumn wind. Unable to bear, he woke up Gogo and said to him: “I feel lonely.” Gogo told him: “I had a dream.” At that moment, they were like two poor children standing at the gate of heaven, Although he was so poor that he didn’t even have a rope to hang, he also understood that he didn’t need a reason to hang. Before the curtain fell, Ge Ge untied his belt and tried to hang again, but the trousers were too fat and fell to his knees. His round stomach and thighs were exposed on the stage, Ge Ge himself did not panic, and the audience did not panic, he faced the audience like a child. The belt was too brittle to hang, and Didi Jean Gogola pulled up his pants and the curtain fell.
Throughout the play, Ge Ge appeared to be more self-willed and Di Di was more rational. Every time Ge Ge left, Di Di reminded him: “We are waiting for Godo.” During the long and boring wait, they met The representatives of all mankind, Bozhuo and the lucky ones. Bozhuo and Lucky enslaved each other, Bozhuo preached philosophically, and Lucky mechanically talked nonsense. When the second act came out, Po Zhuo was blind, lucky people were dumb, philosophical, nonsense, and all withdrew. Ge Ge and Di Di returned to the infinite and abstract time and space, back to the beginning of the first act: a road in the country, a tree. In the endless waiting, they seem to enter the absurdity of the cycle again and again.
Stills of the stage play “Waiting for Godot”
And slowly, the dead tree in the first act grew four or five leaves in the second act. Moreover, when Di Di woke up the sleeping Gago again, he said: “I dreamed that I was very happy.” When Gago and Di Di forgot Gordo, there were moving people between the two tramps feeling. Therefore, it is not surprising that today readers will see love in the relationship between Gogo and Didi. For example, Di Di said to Gogo: “For a whole day, my spirit has been very good.” So Gego complained: “Look, I’m not with you, but you are better. With me by your side, your mood will be It’s much worse. “Di Di asked:” Why are you still coming back? “Ge Ge said:” I don’t know. “Ge Ge said that someone bullied him. Di Di said: “If I were there, I would never let them beat you.”
Then Di Di asked: “Why are they beating you?” Ge Ge said: “I don’t know.” In the whole drama, countless “I don’t know”, Gogo said especially many times. Therefore, in previous reviews, this Gogo who always puts “I don’t know” in his mouth is “an involuntary person” and “alienated person in an alienated world.” However, for more than half a century, this “I don’t know” has faded the coat of alienation, becoming our first password to enter the world. I don’t know where to go. I don’t know why I love her. I don’t know why I don’t love him. I do not know. I do not know.
When we say “I don’t know”, we actually don’t need to know. It’s like the passing of time. Today we watch “Waiting for Godot”. No one asks who Godot is. The absurdity of that year has been transformed into lyricism by the magic of the years. Is this a bigger absurdity in itself, or a cure? I do not know. This “Godoo” wasteland after time has changed from a mystery to a mystery.
But this is not my biggest feeling when watching the Irish Theatre Company. The most outstanding character in the whole play is actually not Ge Ge, Di Di, nor Bozhuo, but the lucky one. Fortunately in the play, there are few places with lines, but the lengthy and inspiring long speech at the moment of his outbreak won the respect of the audience. At that moment, he conquered the audience with nonsense, and then he stopped abruptly, retreating to the position of the humble, back to the depths of history. In 1952, when Baker wrote “Waiting for Godot”, everyone felt that the character “lucky” was the irony of his destiny. However, today, the “lucky man” on the stage received the highest respect from the audience. When the show ended, everyone was talking about the lucky one. More than 60 years have passed, and the lucky ones have gained their luck. At that moment, I suddenly felt that the turning point in history is happening quietly. Today, on the podium of the Nobel Prize, it is no longer Beckett who describes the human protagonist, but Modiano, who is dedicated to describing the small figures in the shadows around the protagonist.
Time flies, we set our sights on the young boatman who died by drowning with Shelley, and on ordinary people like ourselves. Didi said one sentence when thinking about the survival status of himself and Gago: “We have time to grow old. The air is full of our shouts.” In the original play, this sentence is full of tragic meaning, but, today Again, this line can be very lyrical.
We have time to grow old, and then, like the lucky ones, get historical attention.