Ali Taghizadeh1 & Gholamhossein Mahmoud Soltani2
1Assistant Professor at the English Department of Razi University of Kermanshah, Iran.ORCID: Orchid.org/0000-0003-3820-1468. Email: altaghee@zedat.fu-berlin.de. 2PhD Candidate in English, Razi University,Iran. Email: gm.sultani@gmail.com
Volume 8, Number 3, 2016 I Full Text PDF
DOI: 10.21659/rupkatha.v8n3.13
Received March 27, 2016; Revised July 24, 2016; Accepted July 07, 2016; Published August 18, 2016
Abstract
No way can one exaggerate the unique position possessed by Samuel Beckett and his seminal play Waiting for Godot on the stage and in the dramaturgy alike. Undoubtedly, nestled in the core of this work lies some working which has bestowed it with such roaring success. Beckett’s play is an embodiment of the idea that binary oppositions are not more than conventions which therefore can be subverted to allow a wide gamut of unprivileged voices to find a leeway. Waiting for Godot is full of ambiguities and binary oppositions, just to name the extreme one, the concept of “waiting” and the implicit binary of “substance/form. Therefore, it can be read as a dramatization of how it neatly pits such hierarchies against the deconstructionist suspicion of the accepted binary items present in the Western philosophical tradition. Considering how much affinity Derrida himself has seen with Beckett, Waiting for Godot is a ground conducive to the concepts of deconstruction to be practiced.
Key Words: Deconstruction, Duality Ambiguity, Substance, Form, Incubation
