“Waiting for Godot” (1954) is divided into two acts: in the first act Vladimir and Estragon (“Didi” and “Gogo”) are waiting for this mysterious figure and they don’t know why or when he will arrive; the two tramps quarrel and think, but nothing special happens. Then two new characters (Pozzo and Lucky) arrive without a specific cause, and also a boy arrives with a message from Godot, saying he will come the day after. In this strange atmosphere with a sense of desperation, act two begins and Vladimir and Estragon are waiting again for Godot. Lucky and Pozzo return, and also a boy (may be the same messenger or another one) who informs that Godot will not come, so the play ends exactly as it began. There’s a simple and informal language, with many pauses, silences and gags. There isn’t a strict script but the stage directions are very important because they explain feelings, thoughts and tones and the reader has to indirectly infer the changes.
Vladimir and Estragon are the protagonists: the first one is a practical man, while the other is a dreamer but may be a visionary, too (talks about people that beat him)! They’re a complementary couple, because Estragon can’t remember hardly anything, while Vladimir has a good memory (but not always a clear mind!). Then, there are Pozzo and Lucky: Pozzo represents the chief, but in the second act he’s fatigued because of the blindness, and Lucky is a sort of docile slave.