Moreover, being attributed to the absurd theatre, adds ambiguity to its content.
In this type of drama, there is not a real plot, so it is very difficult to the viewer to understand what is exactly meant by the writer of the text.
Moving on to "Eh Joe," this paper further demonstrates that Beckett’s cinematography more immediately implicates the viewer in this face-to-face encounter as it almost entirely collapses the distinction between audience and stage while reconstructing the accusatory and non-empirical characteristics of the Levinasian ‘Face’.
The present study aims at discussing the questioning attitude of Samuel Beckett towards Christianity, in his play Waiting for Godot.
more In this article, I demonstrate that the Second World War has had a stronger bearing on Waiting for Godot than has previously been suggested.
I shall do so by focusing on the differences in terms of place names, stock phrases and puns in Beckett's French and English versions of the play.
The main question that has been discussed by many critics is;who is Godot?
"Any interpretation that strives to know who Godot is (or is not), whether he is realistic character, whether he will ever come, whether he has ever come, or even whether he may have come without being recognized (or possibly in disguise) is, if not absolutely wrong, at least not absolutely right" Htchings.
He said that if he knew he would reveal but he claimed that he himself didn’t know.
Classical works always have the possibility for being understood in different way.