Waiting for Godot pdf epub mobi txt 电子书 下载 2026
- 戏剧
- SamuelBeckett
- Drama
- 贝克特
- 英文原版
- 爱尔兰
- Irish
- 1950s
- 等待戈多
- 荒诞剧
- 存在主义
- 戏剧
- 爱尔兰文学
- 现代主义
- 哲学
- 戏剧理论
- 爱尔兰
- 欧亨尼·奥尼尔
具体描述
From an inauspicious beginning at the tiny Left Bank Theatre de Babylone in 1953, followed by bewilderment among American and British audiences, Waiting for Godot has become of the most important and enigmatic plays of the past fifty years and a cornerstone of twentieth-century drama. As Clive Barnes wrote, “Time catches up with genius … Waiting for Godot is one of the masterpieces of the century.”
The story revolves around two seemingly homeless men waiting for someone—or something—named Godot. Vladimir and Estragon wait near a tree, inhabiting a drama spun of their own consciousness. The result is a comical wordplay of poetry, dreamscapes, and nonsense, which has been interpreted as mankind’s inexhaustible search for meaning. Beckett’s language pioneered an expressionistic minimalism that captured the existential post-World War II Europe. His play remains one of the most magical and beautiful allegories of our time.
作者简介
Samuel Beckett (1906-1989), one of the leading literary and dramatic figures of the twentieth century, was born in Foxrock, Ireland and attended Trinity University in Dublin. In 1928, he visited Paris for the first time and fell in with a number of avant-garde writers and artists, including James Joyce. In 1937, he settled in Paris permanently. Beckett wrote in both English and French, though his best-known works are mostly in the latter language. A prolific writer of novels, short stories, and poetry, he is remembered principally for his works for the theater, which belong to the tradition of the Theater of the Absurd and are characterized by their minimalist approach, stripping drama to its barest elements. In 1969, Beckett was awarded the Nobel Prize in Literature and commended for having "transformed the destitution of man into his exaltation." Beckett died in Paris in 1989.
At the age of seventy-six he said: "With diminished concentration, loss of memory, obscured intelligence... the more chance there is for saying something closest to what one really is. Even though everything seems inexpressible, there remains the need to express. A child need to make a sand castle even though it makes no sense. In old age, with only a few grains of sand, one has the greatest possibility." (from Playwrights at Work, ed. by George Plimpton, 2000)
目录信息
读后感
《等待戈多》的剧本我翻了两三遍，，真是无聊透顶。看了一些诠释，觉得各种符号隐喻解释得牵强附会，毫无道理。我看第一遍时就有了一个自己的解释：戈多就是死亡。等待戈多就是等待死亡。戈多必然到来，在那棵树下。人不免一死——与戈多相会。至于戈多什么时候来，怎么来，等...
评分一个朋友来我公司蹭饭。聊来聊去，他说他不快乐。30啷当的年纪，一年十来万赚着。也没有重体力劳动，要劳其筋骨；放眼望去，也没有什么咄咄逼人的竞争者，让他首当其冲。娇妻有了，娇婴在盼。可是——为什么不快乐？ 我回苏州来的这两年，总觉得不快乐象一种传染病，在社会流传...
评分《等待戈多》的剧本我翻了两三遍，，真是无聊透顶。看了一些诠释，觉得各种符号隐喻解释得牵强附会，毫无道理。我看第一遍时就有了一个自己的解释：戈多就是死亡。等待戈多就是等待死亡。戈多必然到来，在那棵树下。人不免一死——与戈多相会。至于戈多什么时候来，怎么来，等...
评分 评分在写下这篇文字的时刻，我关掉所有网页，谷歌百度搜索，还有那么多那么多的评论和观点。也许不该给任何文学作品戴上高帽子的。大多数人信奉“考据派”和“求实理论”，他们说，《等待戈多》是部后现代主义的扛鼎之作，是荒诞剧，讨论了什么呢，大概是等待，大概是虚无，大概是...
用户评价
这本戏简直是场思想的迷宫，让人在剧场里待着，感觉时间仿佛被拉伸成了永恒的具象。舞台上那棵光秃秃的树，简直就是对“存在”本身最无声的嘲讽。两位主角的对话，那种重复、那种永不抵达的期望，让人不禁思考我们日常生活中那些日复一日的坚持，究竟是出于希望，还是仅仅因为害怕停下来会面对更空旷的虚无。我全程都在努力捕捉那些潜藏的意义，但它就像沙子一样从指缝间溜走，你以为抓住了，一摊开手，又只剩下空落落的空气。每一次的互动都充满了荒谬的逻辑，却又精准地击中了人性的某种核心困境——等待，以及等待中逐渐腐蚀的意义感。演员们的肢体语言，特别是那种刻意的缓慢和重复的动作，比起台词本身更具有穿透力，它们把那种徒劳感具象化了，让人看完后，心里堵着一块说不清道不明的东西，久久不能散去。这绝对不是那种能让你放松心情的剧本，它像一面冰冷的镜子，映照出我们对确定性的可笑执念。
评分这本书成功地做到了“减法美学”的极致。它剥离了一切传统戏剧的“必需品”——没有清晰的背景故事，没有明确的戏剧冲突，没有明确的道德教训，甚至没有一个明确的“主角”——因为两位主角似乎随时可以互换身份，或者被舞台上出现的其他角色所取代。它留下的是纯粹的“处境”。而正是这种空无一物的处境，迫使观众的注意力完全集中在“如何存在”这个问题上。那棵树，那双鞋，那个帽子，每一个道具都承载了过度的、近乎宗教般的象征意义，但又被作者以一种漫不经心的态度对待，仿佛它们只是碰巧出现在那里的垃圾。这种处理方式，极其具有颠覆性，它挑战了我们对“艺术作品”应该具备哪些元素的固有期待。最终，留给我的不是对“戈多是谁”的好奇，而是对自己此刻坐在这里，正在阅读剧本的这一行为本身，产生的深深的疑问。
评分这简直是对“线性时间”概念的一次公开处刑。剧本的节奏感极其古怪，时而拖沓得让人几乎要睡着，时而又在某个突如其来的动作或对白中猛地把你惊醒。这种对时间的颠覆，让我不得不重新审视自己对“进展”的定义。我们总是期待事情会向前发展，期待一个高潮，一个解决，但在这部作品里，时间只是一个不断重复的圆环。两位主角的行为模式，那种相互依赖又相互折磨的关系，简直是人类伴侣关系的极端抽象。他们互相依赖对方来确认自己的存在，但同时，对方的存在本身也是自己行动受阻的原因。这种辩证的、相互否定的关系，刻画得极其微妙。我仿佛透过这层荒诞的外壳，看到了我们日常生活中那些看似理所当然的固定模式，它们是如何默默地限制了我们的自由，把我们固定在原地，对着天空问着同一个永无答案的问题。
评分老实说，当我读到那些关于流浪汉和他们奴隶的场景时，我被一股强烈的、近乎生理上的不适感攫住了。那简直是对权力结构最冷酷的解构。马修和他的主人，他们的关系完全颠覆了传统戏剧中对“主仆”的认知。主人施加的绝对控制，不是基于理性的命令，而是基于一种近乎随机的、甚至有些滑稽的折磨。而奴隶的顺从，则不是恐惧，而更像是一种被驯化的、根深蒂固的惯性。这种对依附关系的描绘，让我反思我们是如何在各种体系中，心甘情愿地接受那些限制我们的“规则”或“权威”的。而且，他们的对话充满了诗意的混乱，你永远不知道下一秒他们会因为什么而发怒或变得温柔，这种不可预测性，比任何明确的暴行都更令人不安，因为它暗示着，规则随时可能被任意地重新定义。
评分我必须说，初次接触这种结构，感觉像被扔进了一锅滚烫的哲学浓汤里，几乎要被烫伤。它根本不讲故事，它是在展示“无故事”的状态本身。那种不断地抛出问题，然后又立即用另一个无聊的、重复的动作来打断回答的可能性，实在是高明得让人又爱又恨。我尤其欣赏作者对语言的运用，那些看似毫无意义的寒暄，比如关于鞋子、帽子，或者那根该死的胡萝卜，它们构成了人类社会交往的底层骨架，但在这部作品里，这些骨架被抽离了所有社会功能，只剩下纯粹的声音和姿态，像是一场精心编排的哑剧，只不过是用台词来掩盖了沉默的深度。看完后，我脑子里嗡嗡作响的不是情节，而是那些没有被说出的东西，那些被刻意留在舞台边缘的、无法被命名的焦虑。那种持续的悬而不决，让观众自己也变成了那个等待戈多的人，为接下来的“到来”而紧绷神经，即使我们心里清楚，“到来”本身可能就是最大的谎言。
评分“To all mankind they were addressed, those cries for help still ringing in our ears! But at this place, at this moment of time, all mankind is us... What are we doing here, THAT is the question. And we are blessed in this, that we happen to know the answer. Yes, in this immense confusion one thing along is clear. We are waiting for Godot to come—“
评分“To all mankind they were addressed, those cries for help still ringing in our ears! But at this place, at this moment of time, all mankind is us... What are we doing here, THAT is the question. And we are blessed in this, that we happen to know the answer. Yes, in this immense confusion one thing along is clear. We are waiting for Godot to come—“
评分The next day, they hanged themselves, leaving this dreamy world of absurdity.
评分The way I see it just for now, we are all waiting for Godot (or at least try to believe so). That's the way we live by, but ironically how we don't live on.
评分"You don't know if you're happy or not?" "What do we do now, now that we are happy?" “I don't know why I don't know!"
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