A shabby man named Estragon, sits near a tree at dusk and struggles to remove his boot. He’s soon joined by his friend Vladimir, who reminds his anxious companion that they must wait here for someone called Godot. So begins a vexing cycle in which the two debate when Godot will come, why they’re waiting, and whether they’re even at the right tree.
Uvadasi chiqqan kiyimdagi Estragon ismli odam g'ira-shirada daraxt yonida o'tirib, etiklarini yechishga urinardi. Tez orada do'sti Vladimir uning oldiga kelib, o'zi bilan o'zi ovora og'aynisiga Godo ismli allakimni kutishlari kerakligini eslatadi. Shundan so'ng zerikarli voqealar ketma-ketligi boshlanib, qahramonlar Godo qachon keladi, nega uni kutyapmiz, aslida to'g'ri daraxt ostida kutyapmizmikin degan savollar atrofida tortishadilar.
From here, Waiting for Godot only gets stranger - but it’s considered a play that changed the face of modern drama. Written by Samuel Beckett between 1949 and 1955, it offers a simple but stirring question - what should the characters do?
Zamonaviy dramaturgiya qiyofasini o'zgartirib yuborgan asar hisoblanuvchi «Godoni kutish» syujeti shundan boshlab tobora g'alati tus oladi. 1949-1955-yillar oralig'ida Samuel Bekket tomonidan yozilgan asar oddiy, ammo hayotiy dolzarb savolni o'rtaga tashlaydi: qahramonlar nima qilishlari kerak?
Estragon: Don’t let's do anything. It's safer.
Estragon: Hech nima qilmay tura qolaylik. Shunisi xavfsizroq.
Vladimir: Let’s wait and see what he says.
Vladimir: Kel, kutib turamiz. Ko'raylikchi, nima derkin.
Estragon: Who?
Estragon: Kim?
Vladimir: Godot.
Vladimir: Godo.
Estragon: Good idea.
Estragon: Yaxshi fikr.
Such cryptic dialogue and circular reasoning are key features of the Theatre of the Absurd, a movement which emerged after the Second World War and found artists struggling to find meaning in devastation. The absurdists deconstructed plot, character and language to question their meaning and share their profound uncertainty on stage.
Bunday chunarsiz dialoglar va takroriy muhokamalar Ikkinchi Jahon Urushidan keyin yuzaga kelgan va tartibsizlik ichra hayotiy maslagini topishni o'zining adabiy maqsadiga aylantirgan absurd teatrining asosiy xususiyatlari hisoblanadi. Absurd teatri vakillari syujet, obrazlar va tilni bir-biridan ayiradilar, bu bilan har birining alohida ma'nosini topmoqchi va sahnada ulardagi bor noaniqlikni namoyish etmoqchi bo'ladilar.
While this may sound grim, the absurd blends its hopelessness with humor. This is reflected in Beckett’s unique approach to genre in Waiting for Godot, which he branded “a tragicomedy in two acts." Tragically, the characters are locked in an existential conundrum: they wait in vain for an unknown figure to give them a sense of purpose, but their only sense of purpose comes from the act of waiting, While they wait, they sink into boredom, express religious dread and contemplate suicide.
Bu qayg'uli eshitilishi mumkin, ammo absurd dramada chorasizlik kulgi ostiga olinadi. Aynan mana shu janr Bekket "ikki aktdan iborat tragikomediya" deb tasniflagan «Godoni kutish» asarida o'z aksini topgan. Fojia shundaki, qahramonlar ekzistensializmning boshi berk ko'chasiga kirib qoladilar: ular yashashdan maqsadni ko'rsatishi kerak bo'lgan noma'lum shaxsni behuda kutadilar, ammo kutish jarayonining o'zi ular hayotining yagona mohiyatiga aylanadi. Xaloskorlarini uzoq kutar ekanlar, qahramonlar g'ussaga beriladilar, diniy qo'rquvga tushadilar va o'z jonlariga qasd qilish haqida
But comically, there is a jagged humor to their predicament, which comes across in their language and movements. Their interactions are filled with bizarre wordplay, repetition and double entendres, as well as physical clowning, singing and dancing, and frantically swapping their hats. It’s often unclear whether the audience is supposed to laugh or cry - or whether Beckett saw any difference between the two.
o'ylaydilar. Shunga qaramay, drama o'ziga xos yumorga ega, obrazlarning kulgili holati ularning nutqi va xatti-harakatlarida aks etadi. Dialoglar antiqa so'z o'yinlari, qaytariqlar va qochirimlarga to'la, harakatlanish chog'ida esa ular masxarabozlik qiladi, qo'shiq aytib, raqsga tushadi va hovliqib shlyapalarini almashadi. Bunday vaziyatda tomoshabinlar kulishni ham, yig'lashni ham bilmay qoladi. Bekket bu ikki hissiyot o'rtasida biron bir farqni ko'rganmikin deb o'ylab qolasiz.
Born in Dublin, Beckett studied English, French and Italian before moving to Paris, where he spent most of his life writing theatre, poetry and prose. While Beckett had a lifelong love of language, he also made space for silence by incorporating gaps, pauses and moments of emptiness into his work. This was a key feature of his trademark uneven tempo and black humor, which became popular throughout the Theatre of the Absurd. He also cultivated a mysterious persona, and refused to confirm or deny any speculations about the meaning of his work. This kept audiences guessing, increasing their fascination with his surreal worlds and enigmatic characters.
Bekket Dublinda tug'ilib o'sdi, ingliz, fransuz va italyan tillarini o'rgandi. Parijga ko'chib kelib, umrining katta qismini shu yerda o'tkazdi, o'zini dramaturgiya, nazm va nasrga bag'ishladi. Tilga bo'lgan kuchli muhabbatiga qaramay, Bekket ijodiga tanaffus kiritib, sukunatda vaqt o'tkazish uchun doim joy topa olgan. Absurd teatri tufayli mashhur bo'lgan notekis bayon qilish usuli hamda qora yumor ijodidagi o'ziga xoslik hisoblanadi. U, shuningdek, sirli shaxs obrazini yaratdi va o'z asarlari ma'nosi haqidagi har qanday taxminlarga munosabat bildirishdan bosh tortdi. Bu esa tomoshabinlarni ko'proq o'ylanishga undadi, yozuvchining xayoliy olami va sirli personajlariga bo'lgan qiziqishlarini yanada oshirdi.
The lack of any clear meaning makes Godot endlessly open to interpretation. Critics have offered countless readings of the play, resulting in a cycle of ambiguity and speculation that mirrors the plot of the drama itself. It's been read as an allegory of the Cold War, the French Resistance, and Britain’s colonization of Ireland.
Hech qanday aniq ma'noning yo'qligi dramaning cheksiz talqinlarini yaratishga imkon berdi. Tanqidchilar asarni turlicha tahlil qilishdi, natijada kosa ostidagi nimkosa nima ekani haqida noaniqliklar va taxminlar paydo bo'ldi. Uni Sovuq Urush, fashistlarga qarshi Fransiya qarshilik harakati va Britaniya Irlandiyani mustamlakaga aylantirishi masalalariga kinoya sifatida qabul qilishdi.
The dynamic of the two protagonists has also sparked intense debate. They’ve been read as survivors of the apocalypse, an aging couple, two impotent friends, and even as personifications of Freud’s ego and id. Famously, Beckett said the only thing he could be sure of was that Vladimir and Estragon were "wearing bowler hats." Like the critical speculation and maddening plot, their language often goes in circles as the two bicker and banter, lose their train of thought, and pick up right where they left off:
Ikki qahramonning o'zaro ta'siri ham qizg'in bahslarga sabab bo'ldi. Ularni oxir zamondan omon qolganlar, qariyotgan sheriklar, ikki irodasiz do'stlar va hatto Freyd aytgan psixikaning «Men» va «U» shakllari timsoli sifatida qabul qilishdi. Bekketning o'zi esa Vladimir va Estragonning "yarimdumaloq qattiq shlyapa kiyganiga" ishonchi komilligini aytgan xolos. Tanqidchilar fikri va asabbuzar sujetga ko'ra, obrazlar nutqi ko'pincha bir nuqtada aylanaveradi. Ular o'zaro tortishadi, bir-birini masxaralaydi, kalavaning uchini yo'qotib, boshlagan gaplariga qaytadilar:
Vladimir: We could start all over again perhaps
Vladimir: Barchasini boshidan boshlashimiz kerak ko'rinadi.
Estragon: That should be easy
Estragon: Qiyin bo'lmasa kerak.
Vladimir: It’s the start that’s difficult
Vladimir: Nimadan boshlashni bilmasang, qiyin.
Estragon: You can start from anything
Estragon: Istagan narsangdan boshlashing mumkin.
Vladimir: Yes, but you have to decide.
Vladimir: Ha, ammo sen qaror qilishing kerak.
Beckett reminds us that just like our daily lives, the world onstage doesn’t always make sense. It can explore both reality and illusion, the familiar and the strange. And although a tidy narrative still appeals, the best theatre keeps us thinking – and waiting.
Bekket sahnadagi dunyo kundalik hayotimiz singari hamisha ham ma'no kasb etavermasligini eslatmoqchi bo'ladi. U haqiqat va xayolotni ham, tanish va notanishni ham o'zida mujassam etishi mumkin. Mantiqiy bayon mushohada uchun yoqimli bo'lsa-da, yaxshi drama bizni o'ylashga… va kutishga undaydi.