عالم التدريس

فول 😁

معنويات

قلم عندي ! ودور ثاني موجود الدور الأول صار فترةً قديمة

إلى هنا نتوقف أسال الله التوفيق لكم ولكل الطلبة وان تجتازوا امتحانكم موقنين بالإجابة 🤲🏻

الدين والوجودية مهمين مميزات مع تعريف المسرح العبثي ومميزات الأخرى مهمة ….

1- religion is incompatible with reason in waiting for godot and the characters who wanted to understand religion logically are left in the dark. 2- the system of the play and the action are based on absurd actions such as switching hat and taking boots on and off. 3- the appearance of godot is a representative of a chance to be saved for estragon and vladimir and makes them feel their waiting is not a waste of time. 4- waiting for godot built on damned, and principle contradiction.

Existentialism :It is a form of philosophical inquiry that explores the problem of human existence and centers on the subjective experience of thinking, feeling, and acting. For example, in the view of an existentialist, the individual's starting point has been called "the existential angst", a sense of dread, confusion, or anxiety in the face of an apparently meaningless or absurd world.[5] Existentialist thinkers frequently explore issues related to the meaning, purpose, and value of human existence.

Pozzo's Rope Pozzo's rope is the only rope that physically appears in the play, and it represents the balance of power in the relationship between Pozzo and Lucky. In Act 1, Pozzo dominates Lucky with a rope half the length of the stage: "Pozzo drives Lucky by means of a rope passed around his neck," and Lucky is often the recipient of Pozzo's whip. Yet Lucky accepts this balance of power without question, as if he cannot envision any other state for himself. By Act 2, however, the rope is shortened, and the balance of power in Pozzo and Lucky's relationship is less clear. Pozzo, now blind, depends on Lucky for direction, and Lucky, still slavish, depends psychologically on Pozzo. By extension, there are a number of figurative ropes in the play. Vladimir and Estragon, like Pozzo and Lucky, are similarly tied to each other in a relationship based on domination and submission. The pair is also tied to Godot and the dominating belief that his arrival will provide a meaning for their lives. Vladimir and Estragon also entertain the idea of hanging themselves with a rope. While suicide is never a real option, its discussion provides the pair a diversion from the act of waiting for Godot. The rope here becomes a symbol of submission to an illogical belief.

Duality Duality is everywhere in Waiting for Godot. Every character has a counterpart, and the paired characters often complement and contrast each other. Vladimir and Estragon seem nearly identical at first, but contrasting characteristics show them to be essentially two different parts of a whole. Pozzo and Lucky are opposites in status, but they also share a mutual dependence. The boy, although written as one part played by a single actor, may actually be two brothers, one of whom tends the sheep while the other tends the goats. Even people who are simply discussed often come in twos, such as the two thieves from the Bible (one is saved, the other is damned). The only character without a counterpart is the one who never appears: the ambiguous Godot. The whole play is dual in structure, consisting of two acts depicting nearly the same events. Act 2 mirrors Act 1 (for example, Estragon arrives first in Act 1, while Vladimir is the first to appear in Act 2), with the events of Act 2 seeming to reflect a bit more darkly the events of Act 1. It is also clear that the two days seen in the play are reflections of many days in the past and days that will continue, endlessly, into the future.