Language has its own way in the Theater of the Absurd. One of many times the men state their hopelessness facing the reality of nothingness. Not only does their situation become stagnate, they themselves acknowledge their own lack of growth “Estragon: Very likely.
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The two men explore their options as they wait for Godot but physically walk and talk in circles. Estragon and Vladimir oppose each other in speech and manner almost every step of the way yet are so tightly intertwined. In the Theater of the Absurd, playwrights have a way of “shaping the characters with the sense of absurdity and tries to dig out their hopelessness to life and society.” In “Waiting for Godot” we are met with two wanders who are compelled to stay in place, where they are unsure of is the right spot, waiting for a man, which they are unsure of what he looked like or what was said, for an unknown opportunity. Traditionally, characters in plays come with a personality to draw the audience and conduct themselves in a way that make sense to the public. The plays themselves became the anti-plays and essentially confronted the audience with disorder, randomness and nothingness which was unlike the audience had experienced before however spoke to them due to the climate of its time. “Absurd” is a term in philosopher Albert Camus’s work that “refers to the contradiction between humanity’s quest to find meaning in the Universe and the Universe itself, which is meaningless.” Plays were created displaying themes of what happens when faced with the absurdity of the universe. With people feeling hopeless to the inhumane treatment of other’s it is hard to think that there is a meaning to life. This metaphysical theory was thought to be influenced by World War II considering that the Nazi’s were infiltrating France.
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The “Theatre of the Absurd” was a dramatic philosophic movement in France during the 1950s.