课本剧剧本等待戈多中学语文课本剧剧本

等待戈多(3)《等待戈多》被公认为荒诞派戏剧的经典作品、法国近百年来的第一剧作。

该剧没有情节，没有矛盾冲突，没有完整的人物形象，只有杂乱无章的胡言乱语与毫无个性的几个人物，是一部反传统、反理性的剧作。

它呈现在我们面前的是一个非理性的世界。

剧本通过两个流浪汉永无休止而又毫无希望的等待，揭示了世界的荒诞与人生的痛苦，表现了现代西方人希望改变自己的生活处境但又难以实现的绝望心理。

中学生阅读这一作品会有相当的难度。

需要一定的阅读耐心，当然也需要相应的背景介绍与阅读指导。

首先，教师应该设法引发学生对于本剧的兴趣。

《等待戈多》产生的缘由极富传奇性与启发性，该剧公演后产生的种种发应都会影响学生对阅读该剧的兴趣。

其次，《等待戈多》没有什么情节，它的全部意蕴便蕴涵在琐碎拼接的画面之中，它的艺术魅力在于受众对戏剧的观赏、阅读过程之中。

教师应该引导学生在反复阅读中感受人物荒诞、无聊言行背后的情感与倾向。

一、积累·整合1、剧情梳理理解《等待戈多》不是借转述戏剧的情节大意所能完成的。

但基本的叙事框架确实是解读该剧的重要渠道。

教师可以要求学生努力通读剧本，然后简要叙述剧作主要基本内容。

没有这一过程，后续教学将难以开展。

《等待戈多》是一个两幕剧，上场的人物共有五人：两个流浪汉——爱斯特拉冈（又称戈戈）和弗拉季米尔（又称狄狄），波卓和他的奴隶幸运儿，还有一个男孩。

故事发生两个黄昏。

【第一幕】荒郊野外。

两个无家可归的流浪流相遇。

他们声称自己是在等待戈多，要向他祈祷，向他乞求。

为排遣寂寞，他们前言不搭后语地交谈，又做着一连串毫无目的的动作——费力脱靴、穿靴，戴帽、脱帽……不久奴隶主波卓和他的仆人幸运儿上场，也要寻找戈多先生。

但戈多迟迟不来，却来了一个男孩，他送口信说，戈多今晚不来，明晚准来。

【第二幕】同样的时间。

同样的地点。

不同的是枯树上长出了四五片叶子。

两个流浪汉又走到一起，模模糊糊回忆昨晚的事。

起初是长时间的沉默。

但无名的恐惧使他们两人同时说话，说话只是为了“不听”和“不想”。

等待戈多（节选）教案示例二教学目的1、初步了解荒诞派戏剧的概况及萨缪尔·贝克特。

2、领会全剧的基本内容，理解作品的主题及其所表现的现代文明社会中人们精神上的失望、苦闷和迷惘。

3、领会本剧以荒诞的形式表现社会的荒诞和人生痛苦的艺术特点。

教学设想重点：以“两个流浪汉在等待什么”为突破口理解本剧的“等待”主题。

难点：理解本剧人物梦呓之言和无聊动作所隐藏的人生痛苦与绝望。

了解内容，设计问题讨论是较合适的教学方法，问题可以是：戈多是谁？为什么要等？教学时数 2课时第一课时一、导语1、中国荒诞的事特别多：上世纪五十年代打麻雀，六十年代围湖造田，七十年代个人崇拜。

2、从《秃头歌女》情节介绍。

3、贝克特简介：贝克特于1906年生于爱尔兰都柏林一个犹太中产阶级家庭，从小就目睹人民被奴役的惨状。

1937年定居巴黎，德国法西斯的暴行，人民的苦难，以及战后人们生活的空虚，冷酷的社会，人间的不幸使他涉笔混乱社会中一群被社会挤扁丁的卑贱、低下、浑浑噩噩的人物来揭示社会现实的荒诞和人生的痛苦。

“世界是荒诞的，人生是毫无意义的”，反映二战后人们精神上的痛苦和麻木，他们想改变自己的命运但又不知所措，“无望的等待”就是一种真实的生活状态；非理性的夸张，舞台形象支离破碎，人物语言颠三倒四。

二、默读全文，试着概括人物的言行，并谈谈你自己的感受1、爱斯特拉冈和弗拉季米尔说了些什么？（一会儿谈昨天在哪儿过夜，一会儿讲两个贼的事情，一会儿说到《福音书》的地图，一会儿又说到英国人在妓院里的故事，还有试着上吊，还有关于脚疼等，语无伦次，不知所云。

）2、他们有什么动作？（爱斯特拉冈从一出场就是使劲地脱靴子，往靴内瞧，倒靴子，摸靴子；弗拉季米尔是脱帽子，抖帽子，窥帽内，戴上又摘下帽子。

全是些无聊动作。

3、你有何感想？（现代社会的荒诞不经，人们精神上的痛苦不堪）第二课时一、导语从《大话西游》中的著名台词导入：1、唐僧被牛魔王抓住要被绞死了，这时天空中乌云密布，电闪雷鸣，唐僧扬声高叫：打雷了，下雨了，收衣服了。

第三单元13等待戈多（节选）(1)《等待戈多》是贝克特的代表作，是个两幕剧。

主要人物是衣衫褴褛、浑身发臭的流浪汉爱斯特拉冈和弗拉季米尔。

他们在乡间小道的一棵枯树下焦急地等待戈多。

第二天，他们又在原地等待戈多。

戈多是谁？干什么的？连他们自己也不清楚。

他们就这样莫名其妙地等着，靠梦呓般的对话和无聊的动作消磨时光。

他们渴望戈多的到来能改变他们的处境。

但戈多始终没来，接连两个晚上都是一个小男孩——戈多的使者前来传讯：“戈多先生今晚不来了，明天准来。

”他们绝望了，两次上吊都未能如愿。

他们只好继续等待，永无休止地等待。

[应用角度](2)戈多到底是什么呢？戈多是一种希望，戈多是一种精神上的寄托，戈多还是人们在迷茫中前行的信念……戈多其实从未离开过我们，他一直就在我们身边。

只是我们匆匆于人世，忙碌于琐碎，因此，“众里寻他千百度”，竟然不知道戈多就在我们身边。

盲目的人们啊，只有保持清醒的头脑，充实自己的心灵，才能够时刻准备着，积极迎接“戈多”的到来，并且在奋斗中实现自己的人生价值。

[应用角度]“等待与追求”“希望与幻想”“奋斗与信念”等。

(1)戈多是信念。

对于人的渺小，古今同感。

但现代人对于机器文明的强势，内心愈感脆弱，信念的火焰更为缥缈了。

诚然，人只是一根苇草，是宇宙间最脆弱的东西，但人是一根能思想的苇草，人具有万事万物无所比拟的精神力量。

“人只是火花，被信念从今天送往明天。

”只要信念不息，火花就不会灭。

“戈多”的归来也就为时不远了。

戈多是理想。

“少年的梦想是风的梦想，青春的思念是长长的思念。

”这是北欧海员远航时所唱的歌谣，当我们踏上人生征程之时，也应想想，自己是否已准备好要去实现理想。

人如果没有理想，便将陷于无边的空虚与等待中。

与其让生命白白流逝，我们为何不现在就树立理想，去迎接“戈多”的到来呢？(节选自《戈多来了……》)(2)戈多来临。

我知道我的生活已经按照第一天的模式重复了一百次，但他们告诉我远远不够，那还凑不足一个学年啊！所以我要继续积攒，直到攒够了三年，换得一次化龙的惊雷。

12等待戈多（节选）1《等待戈多》的场景安排在一条乡间小路上，其意义是什么？参考答案全剧的场景安排在一条乡间小路上，而“路”是供人们行走的，隐含着不确定性，这就暗示了剧中人物不可能找到真正的归宿，只能做毫无希望的精神流浪者。

2《等待戈多》的第二幕几乎是第一幕的完全重复，怎样理解这一重复现象？参考答案由于第二幕几乎是第一幕的完全重复，因此戏演完了，观众或读者却感到好像什么也没有发生过，结尾又回到开头，时间也好像没有向前流动。

但实际上剧情的重复所取得的戏剧效果却是时间的无限延伸、等待的永无尽头，因而喜剧也变成了悲剧。

3《等待戈多》与我们以前学过的剧本有何不同？参考答案《等待戈多》1953年在巴黎演出后引起轰动，连演三百多场。

1969年贝克特因为“他那具有新奇形式的小说和戏剧作品使现代人从精神贫困中得到振奋”而获得诺贝尔文学奖。

有的评论家指出，从古典戏剧的三一律看，《等待戈多》能使观众明显感到时间的无聊和没有穷尽，动作的荒谬不连贯和地点的不可知。

贝克特主张只有那些有情节、没有动作的艺术才算得上纯正的艺术，他的确把情节和动作减到了最低的程度。

剧中人物反复说那说了多次的话，做那做了多次的无聊动作，表现了作者的创作主张，显示了与传统戏剧的不同。

1“戈多”代表什么？提示西方评论家绞尽脑汁，作出了各种解释。

有的认为代表上帝，有的认为代表永生、理想、幸福等等。

有人问作者，作者回答：“我要是知道，早在戏里说出来了。

”2这部戏剧表现了怎样的主题？提示要明确这部戏剧的主题，首先必须了解“戈多”表现什么。

剧本中，主人公一再说要等待戈多，“直等到他来了为止”，但“咱们到底要求他给咱们做些什么”也不知道，“没提出什么明确的要求”“一种泛泛的乞求”；甚至戈多什么时候来到什么地方见面，戈多到底是什么样的人，他们都不知道。

那么戈多到底是什么呢，作者没有告诉我们。

但是，从剧本设置的人物和剧情发展看，戈多还是有所象征的。

剧中的主人公，最不堪忍受的是生活的既空虚又可恶：“我们腻烦得要死，这是无法否认的事实。

等待戈多话剧剧本《等待戈多》，是爱尔兰现代主义剧作家塞缪尔·贝克特的两幕悲喜剧，是戏剧史上真正的革新，也是第一部演出成功的荒诞派戏剧。

下面小编收集了等待戈多节选话剧剧本，供大家欣赏。

剧本乡间一条路。

一棵树。

黄昏。

爱斯特拉冈坐在一个低土墩上，脱靴子。

他两手使劲拉，直喘气。

他停止拉靴子，显出精疲力竭的样子，歇了会儿，又开始拉。

如前。

弗拉季米尔上。

爱斯特拉冈：（又一次泄气）毫无办法。

弗拉季米尔：（叉开两腿，迈着僵硬的、小小的步子前进）我开始拿定主意。

我这一辈子老是拿不定主意，老是说，弗拉季米尔，要理智些，你还不曾什么都试过哩。

于是我又继续奋斗。

（他沉思起来，咀嚼着“奋斗”两字。

向爱斯特拉冈）哦，你又来啦。

爱斯特拉冈：是吗？弗拉季米尔：看见你回来我很高兴，我还以为你一去再也不回来啦。

爱斯特拉冈：我也一样。

弗拉季米尔：终于又在一块儿啦！我们应该好好庆祝一番。

可是怎样庆祝呢？（他思索着）起来，让我拥抱你一下。

爱斯特拉冈：（没好气地）不，这会儿不成。

弗拉季米尔：（伤了自尊心，冷冷地）允不允许我问一下，大人*下昨天晚上是在哪儿过夜的？爱斯特拉冈：在一条沟里。

弗拉季米尔：（羡慕地）一条沟里！哪儿？爱斯特拉冈：（未作手势）那边。

弗拉季米尔：他们没揍你？爱斯特拉冈：揍我？他们当然揍了我。

弗拉季米尔：还是同一*？爱斯特拉冈：同一*？我不知道。

弗拉季米尔：我只要一想起……这么些年来……要不是有我照顾……你会在什么地方……？（果断地）这会儿，你早就成一堆枯骨啦，毫无疑问。

爱斯特拉冈：那又怎么样呢？弗拉季米尔：光一个人，是怎么也受不了的。

（略停。

兴高采烈地）另一方面，这会儿泄气也不管用了，这是我要说的。

我们早想到这一点就好了，在世界还年轻的时候，在九十年代。

爱斯特拉冈：啊，别罗嗦啦，帮我把这混账玩艺儿脱下来。

弗拉季米尔：手拉着手从巴黎塔①顶上跳下来，这是首先该做的。

那时候我们还很体面。

现在已经太晚啦。

他们甚至不会放我们上去哩。

等待戈多（中学语文课本剧剧本）《等待戈多》（EnattendantGodot），又译做等待果陀，是爱尔兰剧作家塞缪尔·贝克特的两幕悲喜剧，1952年用法文发表，1953年首演。

《等待戈多》是戏剧史上真正的革新，也是第一部演出成功的荒诞派戏剧。

下面是小编为你带来的等待戈多（中学语文课本剧剧本），欢迎阅读。

第一幕：乡间一条路，一棵树。

黄昏爱斯特拉冈和弗拉季米尔坐在一个低土墩处。

（话外音）这是什么地方，什么时候，也不知道是什么人。

总之可能是两个流浪汉吧。

他们在等着什么？等待戈多……等待戈多……等待……爱斯特拉冈开始脱靴子，他两手使劲往下拉，直喘气，显出精疲力竭的样子，歇了一会儿，有开始往下拉。

弗拉季米尔到一旁，向远处张望。

爱斯特拉冈又一次泄气，毫无办法，放弃了脱靴子。

爱：（站起来，走到弗拉季米尔身边）咱们走吧！弗：咱们不能。

爱：为什么不能？弗：咱们在等待，等待戈多！爱：他要是不来，那怎么办？弗：咱们明天再来。

爱：然后后天再来？弗：有可能爱：这样下去，只等到他来为止？弗：你说话真是不留情面！爱：问题是昨天咱们来过这里了！弗：昨天咱来过这里？爱：我肯定来过这里！弗：你凭什么肯定？爱：（指着旁边的路）这条路，（走到树下）这棵树！弗：这棵树？爱：咱们昨天还在这上吊了呢，要不咱上吊试试？弗：上吊？咱们没绳！爱：（四处看了看，找上吊的东西，摸到裤腰带，开心的走去扯弗的裤腰带）裤腰带！弗：（推开爱的手）别，别！我想咱们还是什么都别干，这样比较安全。

（和爱坐到土墩处）波卓带幸运儿上，波卓牵着套在幸运儿脖子上的绳子。

幸运儿已经疲惫不堪。

波卓催着幸运儿快走。

走到土墩，波卓停下，而幸运儿继续麻木的低头往前走。

波卓喊“停”幸运儿顺势倒下。

爱：（惊喜的）是他弗：谁？爱：（高兴的）戈多！弗：（走到波卓身旁，唯唯诺诺的）老爷，你是？波卓：我就是大名鼎鼎的波卓！爱：你不是戈多先生吗，老爷？波卓：（愤怒的）我是波卓，波卓！波卓：（不屑的）戈多算个什么东西，告诉你们，剥夺才是真正的大人物。

Waiting for Godottragicomedy in 2 actsBySamuel BeckettEstragonVladimirLuckyPozzoa boyACT IA country road. A tree.Evening.Estragon, sitting on a low mound, is trying to take off his boot. He pulls at it with both hands, panting. He gives up, exhausted, rests, tries again.As before.Enter Vladimir.ESTRAGON:(giving up again). Nothing to be done.VLADIMIR:(advancing with short, stiff strides, legs wide apart). I'm beginning to come round to that opinion. All my life I've tried to put it from me, saying Vladimir, be reasonable, you haven't yet tried everything. And I resumed the struggle. (He broods, musing on the struggle. Turning to Estragon.) So there you are again.ESTRAGON:Am I?VLADIMIR:I'm glad to see you back. I thought you were gone forever.ESTRAGON:Me too.VLADIMIR:Together again at last! We'll have to celebrate this. But how? (He reflects.) Get up till Iembrace you.ESTRAGON:(irritably). Not now, not now.VLADIMIR:(hurt, coldly). May one inquire where His Highness spent the night?ESTRAGON:In a ditch.VLADIMIR:(admiringly). A ditch! Where?ESTRAGON:(without gesture). Over there.VLADIMIR:And they didn't beat you?ESTRAGON:Beat me? Certainly they beat me.VLADIMIR:The same lot as usual?ESTRAGON:The same? I don't know.VLADIMIR:When I think of it . . . all these years . . . but for me . . . where would you be . . . (Decisively.) You'd be nothing more than a little heap of bones at the present minute, no doubt about it. ESTRAGON:And what of it?VLADIMIR:(gloomily). It's too much for one man. (Pause. Cheerfully.) On the other hand what's the good of losing heart now, that's what I say. We should have thought of it a million years ago, in the nineties.ESTRAGON:Ah stop blathering and help me off with this bloody thing.VLADIMIR:Hand in hand from the top of the Eiffel Tower, among the first. We were respectable in those days. Now it's too late. They wouldn't even let us up. (Estragon tears at his boot.) What are you doing?ESTRAGON:Taking off my boot. Did that never happen to you?VLADIMIR:Boots must be taken off every day, I'm tired telling you that. Why don't you listen to me? ESTRAGON:(feebly). Help me!VLADIMIR:It hurts?ESTRAGON:(angrily). Hurts! He wants to know if it hurts!(angrily). No one ever suffers but you. I don't count. I'd like to hear what you'd say if you had what I have.ESTRAGON:It hurts?VLADIMIR:(angrily). Hurts! He wants to know if it hurts!ESTRAGON:(pointing). You might button it all the same.VLADIMIR:(stooping). True. (He buttons his fly.) Never neglect the little things of life. ESTRAGON:What do you expect, you always wait till the last moment.VLADIMIR:(musingly). The last moment . . . (He meditates.) Hope deferred maketh the something sick, who said that?ESTRAGON:Why don't you help me?VLADIMIR:Sometimes I feel it coming all the same. Then I go all queer. (He takes off his hat, peers inside it, feels about inside it, shakes it, puts it on again.) How shall I say? Relieved and at the same time . . . (he searches for the word) . . . appalled. (With emphasis.) AP-PALLED. (He takes off his hat again, peers inside it.) Funny. (He knocks on the crown as though to dislodge a foreign body, peers into it again, puts it on again.) Nothing to be done. (Estragon with a supreme effort succeeds in pulling off his boot. He peers inside it, feels about inside it, turns it upside down, shakes it, looks on the ground to see if anything has fallen out, finds nothing, feels inside it again, staring sightlessly before him.) Well?ESTRAGON:Nothing.VLADIMIR:Show me.ESTRAGON:There's nothing to show.VLADIMIR:Try and put it on again.ESTRAGON:(examining his foot). I'll air it for a bit.VLADIMIR:There's man all over for you, blaming on his boots the faults of his feet. (He takes off his hat again, peers inside it, feels about inside it, knocks on the crown, blows into it, puts it on again.) This is getting alarming. (Silence. Vladimir deep in thought, Estragon pulling at his toes.) One of the thieves was saved. (Pause.) It's a reasonable percentage. (Pause.) Gogo. ESTRAGON:What?Suppose we repented.ESTRAGON:Repented what?VLADIMIR:Oh . . . (He reflects.) We wouldn't have to go into the details.ESTRAGON:Our being born?Vladimir breaks into a hearty laugh which he immediately stifles, his hand pressed to his pubis, his face contorted.VLADIMIR:One daren't even laugh any more.ESTRAGON:Dreadful privation.VLADIMIR:Merely smile. (He smiles suddenly from ear to ear, keeps smiling, ceases as suddenly.) It's not the same thing. Nothing to be done. (Pause.) Gogo.ESTRAGON:(irritably). What is it?VLADIMIR:Did you ever read the Bible?ESTRAGON:The Bible . . . (He reflects.) I must have taken a look at it.VLADIMIR:Do you remember the Gospels?ESTRAGON:I remember the maps of the Holy Land. Coloured they were. Very pretty. The Dead Sea was pale blue. The very look of it made me thirsty. That's where we'll go, I used to say, that's where we'll go for our honeymoon. We'll swim. We'll be happy.VLADIMIR:You should have been a poet.ESTRAGON:I was. (Gesture towards his rags.) Isn't that obvious?Silence.VLADIMIR:Where was I . . . How's your foot?ESTRAGON:Swelling visibly.VLADIMIR:Ah yes, the two thieves. Do you remember the story?ESTRAGON:No.VLADIMIR:Shall I tell it to you?No.VLADIMIR:It'll pass the time. (Pause.) Two thieves, crucified at the same time as our Saviour. One? ESTRAGON:Our what?VLADIMIR:Our Saviour. Two thieves. One is supposed to have been saved and the other . . . (he searches for the contrary of saved) . . . damned.ESTRAGON:Saved from what?VLADIMIR:Hell.ESTRAGON:I'm going.He does not move.VLADIMIR:And yet . . . (pause) . . . how is it 杢his is not boring you I hope?how is it that of the four Evangelists only one speaks of a thief being saved. The four of them were there 杘r thereabouts?and only one speaks of a thief being saved. (Pause.) Come on, Gogo, return the ball, can't you, once in a while?ESTRAGON:(with exaggerated enthusiasm). I find this really most extraordinarily interesting. VLADIMIR:One out of four. Of the other three, two don't mention any thieves at all and the third says that both of them abused him.ESTRAGON:Who?VLADIMIR:What?ESTRAGON:What's all this about? Abused who?VLADIMIR:The Saviour.ESTRAGON:Why?VLADIMIR:Because he wouldn't save them.ESTRAGON:From hell?VLADIMIR:Imbecile! From death.ESTRAGON:I thought you said hell.From death, from death.ESTRAGON:Well what of it?VLADIMIR:Then the two of them must have been damned.ESTRAGON:And why not?VLADIMIR:But one of the four says that one of the two was saved.ESTRAGON:Well? They don't agree and that's all there is to it.VLADIMIR:But all four were there. And only one speaks of a thief being saved. Why believe him rather than the others?ESTRAGON:Who believes him?VLADIMIR:Everybody. It's the only version they know.ESTRAGON:People are bloody ignorant apes.He rises painfully, goes limping to extreme left, halts, gazes into distance off with his hand screening his eyes, turns, goes to extreme right, gazes into distance. Vladimir watches him, then goes and picks up the boot, peers into it, drops it hastily.VLADIMIR:Pah!He spits. Estragon moves to center, halts with his back to auditorium.ESTRAGON:Charming spot. (He turns, advances to front, halts facing auditorium.) Inspiring prospects. (He turns to Vladimir.) Let's go.VLADIMIR:We can't.ESTRAGON:Why not?VLADIMIR:We're waiting for Godot.ESTRAGON:(despairingly). Ah! (Pause.) You're sure it was here?VLADIMIR:What?ESTRAGON:That we were to wait.VLADIMIR:He said by the tree. (They look at the tree.) Do you see any others?What is it?VLADIMIR:I don't know. A willow.ESTRAGON:Where are the leaves?VLADIMIR:It must be dead.ESTRAGON:No more weeping.VLADIMIR:Or perhaps it's not the season.ESTRAGON:Looks to me more like a bush.VLADIMIR:A shrub.ESTRAGON:A bush.VLADIMIR:A? What are you insinuating? That we've come to the wrong place? ESTRAGON:He should be here.VLADIMIR:He didn't say for sure he'd come.ESTRAGON:And if he doesn't come?VLADIMIR:We'll come back tomorrow.ESTRAGON:And then the day after tomorrow.VLADIMIR:Possibly.ESTRAGON:And so on.VLADIMIR:The point is?ESTRAGON:Until he comes.VLADIMIR:You're merciless.ESTRAGON:We came here yesterday.VLADIMIR:Ah no, there you're mistaken.What did we do yesterday?VLADIMIR:What did we do yesterday?ESTRAGON:Yes.VLADIMIR:Why . . . (Angrily.) Nothing is certain when you're about.ESTRAGON:In my opinion we were here.VLADIMIR:(looking round). You recognize the place?ESTRAGON:I didn't say that.VLADIMIR:Well?ESTRAGON:That makes no difference.VLADIMIR:All the same . . . that tree . . . (turning towards auditorium) that bog . . .ESTRAGON:You're sure it was this evening?VLADIMIR:What?ESTRAGON:That we were to wait.VLADIMIR:He said Saturday. (Pause.) I think.ESTRAGON:You think.VLADIMIR:I must have made a note of it. (He fumbles in his pockets, bursting with miscellaneous rubbish.)ESTRAGON:(very insidious). But what Saturday? And is it Saturday? Is it not rather Sunday? (Pause.) Or Monday? (Pause.) Or Friday?VLADIMIR:(looking wildly about him, as though the date was inscribed in the landscape). It's not possible!ESTRAGON:Or Thursday?VLADIMIR:What'll we do?ESTRAGON:If he came yesterday and we weren't here you may be sure he won't come again today. VLADIMIR:But you say we were here yesterday.ESTRAGON:I may be mistaken. (Pause.) Let's stop talking for a minute, do you mind?VLADIMIR:(feebly). All right. (Estragon sits down on the mound. Vladimir paces agitatedly to and fro, halting from time to time to gaze into distance off. Estragon falls asleep. Vladimir halts finally before Estragon.) Gogo! . . . Gogo! . . . GOGO!Estragon wakes with a start.ESTRAGON:(restored to the horror of his situation). I was asleep! (Despairingly.) Why will you never let me sleep?VLADIMIR:I felt lonely.ESTRAGON:I had a dream.VLADIMIR:Don't tell me!ESTRAGON:I dreamt that?VLADIMIR:DON'T TELL ME!ESTRAGON:(gesture toward the universe). This one is enough for you? (Silence.) It's not nice of you, Didi. Who am I to tell my private nightmares to if I can't tell them to you?VLADIMIR:Let them remain private. You know I can't bear that.ESTRAGON:(coldly.) There are times when I wonder if it wouldn't be better for us to part. VLADIMIR:You wouldn't go far.ESTRAGON:That would be too bad, really too bad. (Pause.) Wouldn't it, Didi, be really too bad? (Pause.) When you think of the beauty of the way. (Pause.) And the goodness of the wayfarers. (Pause. Wheedling.) Wouldn't it, Didi?VLADIMIR:Calm yourself.ESTRAGON:(voluptuously.) Calm . . . calm . . . The English say cawm. (Pause.) You know the story of the Englishman in the brothel?VLADIMIR:Yes.ESTRAGON:Tell it to me.VLADIMIR:Ah stop it!ESTRAGON:An Englishman having drunk a little more than usual proceeds to a brothel. The bawd asks him if he wants a fair one, a dark one or a red-haired one. Go on.VLADIMIR:STOP IT!Exit Vladimir hurriedly. Estragon gets up and follows him as far as the limit of the stage. Gestures of Estragon like those of a spectator encouraging a pugilist. Enter Vladimir. He brushes past Estragon, crosses the stage with bowed head. Estragon takes a step towards him, halts.ESTRAGON:(gently.) You wanted to speak to me? (Silence. Estragon takes a step forward.) You had something to say to me? (Silence. Another step forward.) Didi . . .VLADIMIR:(without turning). I've nothing to say to you.ESTRAGON:(step forward). You're angry? (Silence. Step forward). Forgive me. (Silence. Step forward. Estragon lays his hand on Vladimir's shoulder.) Come, Didi. (Silence.) Give me your hand. (Vladimir half turns.) Embrace me! (Vladimir stiffens.) Don't be stubborn! (Vladimir softens. They embrace.Estragon recoils.) You stink of garlic!VLADIMIR:It's for the kidneys. (Silence. Estragon looks attentively at the tree.) What do we do now? ESTRAGON:Wait.VLADIMIR:Yes, but while waiting.ESTRAGON:What about hanging ourselves?VLADIMIR:Hmm. It'd give us an erection.ESTRAGON:(highly excited). An erection!VLADIMIR:With all that follows. Where it falls mandrakes grow. That's why they shriek when you pull them up. Did you not know that?ESTRAGON:Let's hang ourselves immediately!VLADIMIR:From a bough? (They go towards the tree.) I wouldn't trust it.ESTRAGON:We can always try.VLADIMIR:Go ahead.ESTRAGON:After you.VLADIMIR:No no, you first.ESTRAGON:Why me?VLADIMIR:You're lighter than I am.ESTRAGON:Just so!VLADIMIR:I don't understand.ESTRAGON:Use your intelligence, can't you?Vladimir uses his intelligence.VLADIMIR:(finally). I remain in the dark.ESTRAGON:This is how it is. (He reflects.) The bough . . . the bough . . . (Angrily.) Use your head, can't you?VLADIMIR:You're my only hope.ESTRAGON:(with effort). Gogo light梑ough not break桮ogo dead. Didi heavy梑ough break桪idi alone. Whereas?VLADIMIR:I hadn't thought of that.ESTRAGON:If it hangs you it'll hang anything.VLADIMIR:But am I heavier than you?ESTRAGON:So you tell me. I don't know. There's an even chance. Or nearly.VLADIMIR:Well? What do we do?ESTRAGON:Don't let's do anything. It's safer.VLADIMIR:Let's wait and see what he says.ESTRAGON:Who?VLADIMIR:Godot.ESTRAGON:Good idea.VLADIMIR:Let's wait till we know exactly how we stand.ESTRAGON:On the other hand it might be better to strike the iron before it freezes. VLADIMIR:I'm curious to hear what he has to offer. Then we'll take it or leave it. ESTRAGON:What exactly did we ask him for?VLADIMIR:Were you not there?ESTRAGON:I can't have been listening.VLADIMIR:Oh . . . Nothing very definite.ESTRAGON:A kind of prayer.VLADIMIR:Precisely.ESTRAGON:A vague supplication.VLADIMIR:Exactly.ESTRAGON:And what did he reply?VLADIMIR:That he'd see.ESTRAGON:That he couldn't promise anything.VLADIMIR:That he'd have to think it over.ESTRAGON:In the quiet of his home.VLADIMIR:Consult his family.ESTRAGON:His friends.VLADIMIR:His agents.ESTRAGON:His correspondents.VLADIMIR:ESTRAGON:His bank account.VLADIMIR:Before taking a decision.ESTRAGON:It's the normal thing.VLADIMIR:Is it not?ESTRAGON:I think it is.VLADIMIR:I think so too.Silence.ESTRAGON:(anxious). And we?VLADIMIR:I beg your pardon?ESTRAGON:I said, And we?VLADIMIR:I don't understand.ESTRAGON:Where do we come in?VLADIMIR:Come in?ESTRAGON:Take your time.VLADIMIR:Come in? On our hands and knees.ESTRAGON:As bad as that?VLADIMIR:Your Worship wishes to assert his prerogatives?ESTRAGON:We've no rights any more?Laugh of Vladimir, stifled as before, less the smile.VLADIMIR:You'd make me laugh if it wasn't prohibited.ESTRAGON:We've lost our rights?VLADIMIR:(distinctly). We got rid of them.Silence. They remain motionless, arms dangling, heads sunk, sagging at the knees.(feebly). We're not tied? (Pause.) We're not?VLADIMIR:Listen!They listen, grotesquely rigid.ESTRAGON:I hear nothing.VLADIMIR:Hsst! (They listen. Estragon loses his balance, almost falls. He clutches the arm of Vladimir, who totters. They listen, huddled together.) Nor I.Sighs of relief. They relax and separate.ESTRAGON:You gave me a fright.VLADIMIR:I thought it was he.ESTRAGON:Who?VLADIMIR:Godot.ESTRAGON:Pah! The wind in the reeds.VLADIMIR:I could have sworn I heard shouts.ESTRAGON:And why would he shout?VLADIMIR:At his horse.Silence.ESTRAGON:(violently). I'm hungry!VLADIMIR:Do you want a carrot?ESTRAGON:Is that all there is?VLADIMIR:I might have some turnips.ESTRAGON:Give me a carrot. (Vladimir rummages in his pockets, takes out a turnip and gives it to Estragon who takes a bite out of it. Angrily.) It's a turnip!VLADIMIR:Oh pardon! I could have sworn it was a carrot. (He rummages again in his pockets, finds nothing but turnips.) All that's turnips. (He rummages.) You must have eaten the last. (He rummages.) Wait, I have it. (He brings out a carrot and gives it to Estragon.) There, dear fellow. (Estragon wipes the carrot on his sleeve and begins to eat it.) Make it last, that's theend of them.ESTRAGON:(chewing). I asked you a question.VLADIMIR:Ah.ESTRAGON:Did you reply?VLADIMIR:How's the carrot?ESTRAGON:It's a carrot.VLADIMIR:So much the better, so much the better. (Pause.) What was it you wanted to know? ESTRAGON:I've forgotten. (Chews.) That's what annoys me. (He looks at the carrot appreciatively, dangles it between finger and thumb.) I'll never forget this carrot. (He sucks the end of it meditatively.) Ah yes, now I remember.VLADIMIR:Well?ESTRAGON:(his mouth full, vacuously). We're not tied?VLADIMIR:I don't hear a word you're saying.ESTRAGON:(chews, swallows). I'm asking you if we're tied.VLADIMIR:Tied?ESTRAGON:Ti-ed.VLADIMIR:How do you mean tied?ESTRAGON:Down.VLADIMIR:But to whom? By whom?ESTRAGON:To your man.VLADIMIR:To Godot? Tied to Godot! What an idea! No question of it. (Pause.) For the moment. ESTRAGON:His name is Godot?VLADIMIR:I think so.ESTRAGON:Fancy that. (He raises what remains of the carrot by the stub of leaf, twirls it before his eyes.) Funny, the more you eat the worse it gets.VLADIMIR:With me it's just the opposite.ESTRAGON:In other words?VLADIMIR:I get used to the muck as I go along.ESTRAGON:(after prolonged reflection). Is that the opposite?VLADIMIR:Question of temperament.ESTRAGON:Of character.VLADIMIR:Nothing you can do about it.ESTRAGON:No use struggling.VLADIMIR:One is what one is.ESTRAGON:No use wriggling.VLADIMIR:The essential doesn't change.ESTRAGON:Nothing to be done. (He proffers the remains of the carrot to Vladimir.) Like to finish it?A terrible cry, close at hand. Estragon drops the carrot. They remain motionless, then together make a sudden rush towards the wings. Estragon stops halfway, runs back, picks up the carrot, stuffs it in his pocket, runs to rejoin Vladimir who is waiting for him, stops again, runs back, picks up his boot, runs to rejoin Vladimir. Huddled together, shoulders hunched, cringing away from the menace, they wait.Enter Pozzo and Lucky. Pozzo drives Lucky by means of a rope passed round his neck, so that Lucky is the first to enter, followed by the rope which is long enough to let him reach the middle of the stage before Pozzo appears. Lucky carries a heavy bag, a folding stool, a picnic basket and a greatcoat, Pozzo a whip.POZZO:(off). On! (Crack of whip. Pozzo appears. They cross the stage. Lucky passes before Vladimir and Estragon and exit. Pozzo at the sight of Vladimir and Estragon stops short. The rope tautens. Pozzo jerks at it violently.) Back!Noise of Lucky falling with all his baggage. Vladimir and Estragon turn towards him, half wishing half fearing to go to his assistance. Vlamdimir takes a step towards Lucky, Estragon holds him back by the sleeve.VLADIMIR:Let me go!ESTRAGON:Stay where you are!POZZO:Be careful! He's wicked. (Vladimir and Estragon turn towards Pozzo.) With strangers. ESTRAGON:(undertone). Is that him?VLADIMIR:Who?ESTRAGON:(trying to remember the name). Er . . .VLADIMIR:Godot?ESTRAGON:Yes.POZZO:I present myself: Pozzo.VLADIMIR:(to Estragon). Not at all!ESTRAGON:He said Godot.VLADIMIR:Not at all!ESTRAGON:(timidly, to Pozzo). You're not Mr. Godot, Sir?POZZO:(terrifying voice). I am Pozzo! (Silence.) Pozzo! (Silence.) Does that name mean nothing to you? (Silence.) I say does that name mean nothing to you?Vladimir and Estragon look at each other questioningly.ESTRAGON:(pretending to search). Bozzo . . . Bozzo . . .VLADIMIR:(ditto). Pozzo . . . Pozzo . . .POZZO:PPPOZZZO!ESTRAGON:Ah! Pozzo . . . let me see . . . Pozzo . . .VLADIMIR:Is it Pozzo or Bozzo?ESTRAGON:Pozzo . . . no . . . I'm afraid I . . . no . . . I don't seem to . . .Pozzo advances threateningly.VLADIMIR:(conciliating). I once knew a family called Gozzo. The mother had the clap. ESTRAGON:(hastily). We're not from these parts, Sir.POZZO:(halting). You are human beings none the less. (He puts on his glasses.) As far as one can see. (He takes off his glasses.) Of the same species as myself. (He bursts into an enormous laugh.) Of the same species as Pozzo! Made in God's image!VLADIMIR:Well you see?POZZO:(peremptory). Who is Godot?ESTRAGON:Godot?POZZO:You took me for Godot.VLADIMIR:Oh no, Sir, not for an instant, Sir.POZZO:Who is he?VLADIMIR:Oh he's a . . . he's a kind of acquaintance.ESTRAGON:Nothing of the kind, we hardly know him.VLADIMIR:True . . . we don't know him very well . . . but all the same . . .ESTRAGON:Personally, I wouldn't even know him if I saw him.POZZO:You took me for him.ESTRAGON:(recoiling before Pozzo). That's to say . . . you understand . . . the dusk . . . the strain . . . waiting . . . I confess . . . I imagined . . . for a second . . .POZZO:Waiting? So you were waiting for him?VLADIMIR:Well you see?POZZO:Here? On my land?VLADIMIR:We didn't intend any harm.ESTRAGON:We meant well.POZZO:The road is free to all.VLADIMIR:That's how we looked at it.POZZO:It's a disgrace. But there you are.ESTRAGON:Nothing we can do about it.POZZO:(with magnanimous gesture). Let's say no more about it. (He jerks the rope.) Up pig! (Pause.) Every time he drops he falls asleep. (Jerks the rope.) Up hog! (Noise of Lucky getting up and picking up his baggage. Pozzo jerks the rope.) Back! (Enter Lucky backwards.) Stop! (Lucky stops.) Turn! (Lucky turns. To Vladimir and Estragon, affably.) Gentlemen, I am happy to have met you. (Before their incredulous expression.) Yes yes, sincerely happy. (He jerks the rope.) Closer! (Lucky advances.) Stop! (Lucky stops.) Yes, the road seems long when one journeys all alone for . . . (he consults his watch) . . . yes . . . (he calculates) . . . yes, six hours, that's right, six hours on end, and never a soul in sight. (To Lucky.) Coat! (Lucky puts down the bag, advances, gives the coat, goes back to his place, takes up the bag.) Hold that! (Pozzo holds out the whip. Lucky advances and, both his hands being occupied, takes the whip in his mouth, then goes back to his place. Pozzo begins to put on his coat, stops.) Coat! (Lucky puts down the bag, basket and stool, helps Pozzo on with his coat, goes back to his place and takes up bag, basket and stool.) Touch of autumn in the air this evening. (Pozzo finishes buttoning up his coat, stoops, inspects himself, straightens up.) Whip! (Lucky advances, stoops, Pozzo snatches the whip from his mouth, Lucky goes back to his place.) Yes, gentlemen, I cannot go for long without the society of my likes (he puts on his glasses and looks at the two likes) even when the likeness is an imperfect one. (He takes off his glasses.) Stool! (Lucky puts down bag and basket, advances, opens stool, puts it down, goes back to his place, takes up bag and basket.) Closer! (Lucky puts down bag and basket, advances, moves stool, goes back to his place, takes up bag and basket. Pozzo sits down, places the butt of his whip against Lucky's chest and pushes.) Back! (Lucky takes a step back.) Further! (Lucky takes another step back.) Stop! (Lucky stops. To Vladimir and Estragon.) That is why, with your permission, I propose to dally with you a moment, before I venture any further. Basket! (Lucky advances, gives the basket, goes back to his place.) The fresh air stimulates the jaded appetite. (He opens the basket, takes out a piece of chicken and a bottle of wine.) Basket! (Lucky advances, picks up the basket and goes back to his place.) Further! (Lucky takes a step back.) He stinks. Happy days!He drinks from the bottle, puts it down and begins to eat. Silence.Vladimir and Estragon, cautiously at first, then more boldly, begin to circle about Lucky, inspecting him up and down. Pozzo eats his chicken voraciously, throwing away the bones after having sucked them. Lucky sags slowly, until bag and basket touch the ground, then straightens up with a start and begins to sag again. Rhythm of one sleeping on his feet. ESTRAGON:What ails him?VLADIMIR:He looks tired.ESTRAGON:Why doesn't he put down his bags?VLADIMIR:How do I know? (They close in on him.) Careful! ESTRAGON:Say something to him.VLADIMIR:Look!ESTRAGON:What?VLADIMIR:(pointing). His neck!ESTRAGON:(looking at the neck). I see nothing.VLADIMIR:Here.Estragon goes over beside Vladimir.ESTRAGON:Oh I say!VLADIMIR:A running sore!ESTRAGON:It's the rope.VLADIMIR:It's the rubbing.ESTRAGON:It's inevitable.VLADIMIR:It's the knot.ESTRAGON:It's the chafing.They resume their inspection, dwell on the face. VLADIMIR:(grudgingly). He's not bad looking.ESTRAGON:(shrugging his shoulders, wry face.) Would you say so? VLADIMIR:A trifle effeminate.ESTRAGON:Look at the slobber.VLADIMIR:It's inevitable.ESTRAGON:Look at the slaver.VLADIMIR:Perhaps he's a halfwit.ESTRAGON:VLADIMIR:(looking closer). Looks like a goiter.ESTRAGON:(ditto). It's not certain.VLADIMIR:He's panting.ESTRAGON:It's inevitable.VLADIMIR:And his eyes!ESTRAGON:What about them?VLADIMIR:Goggling out of his head.ESTRAGON:Looks like his last gasp to me.VLADIMIR:It's not certain. (Pause.) Ask him a question.ESTRAGON:Would that be a good thing?VLADIMIR:What do we risk?ESTRAGON:(timidly). Mister . . .VLADIMIR:Louder.ESTRAGON:(louder). Mister . . .POZZO:Leave him in peace! (They turn toward Pozzo who, having finished eating, wipes his mouth with the back of his hand.) Can't you see he wants to rest? Basket! (He strikes a match and begins to light his pipe. Estragon sees the chicken bones on the ground and stares at them greedily. As Lucky does not move Pozzo throws the match angrily away and jerks the rope.) Basket! (Lucky starts, almost falls, recovers his senses, advances, puts the bottle in the basket and goes back to his place. Estragon stares at the bones. Pozzo strikes another match and lights his pipe.) What can you expect, it's not his job. (He pulls at his pipe, stretches out his legs.) Ah! That's better.ESTRAGON:(timidly). Please Sir . . .POZZO:What is it, my good man?ESTRAGON:Er . . . you've finished with the . . . er . . . you don't need the . . . er . . . bones, Sir?。

《等待戈多(节选) 教案教学设计》一、教学目标：1. 让学生理解《等待戈多》的背景和主题，把握剧本的结构和风格。

2. 培养学生对现代戏剧的兴趣和欣赏能力。

3. 提高学生对文学作品的分析能力和批判性思维。

二、教学内容：1. 剧本概述：《等待戈多》是爱尔兰剧作家塞缪尔·贝克特的一部代表作，创作于1952年。

剧本通过描述两个流浪汉在荒野中等待一个名为“戈多”的人物，展现了一种绝望而又荒诞的生活状态。

2. 剧本结构：剧本分为三幕，每幕都重复着等待戈多的情景，但每一次的等待都有所不同，展现了角色的心理变化和戏剧的张力。

3. 剧本风格：贝克特的剧本语言简练而富有象征意义，角色之间的对话常常没有明确的含义，需要观众进行解读和思考。

三、教学方法：1. 讲授法：教师通过讲解剧本的背景、作者的生平和创作意图，为学生提供基础知识。

2. 文本分析法：教师引导学生对剧本文本进行细致的阅读和分析，探讨角色的心理变化和戏剧的主题。

3. 小组讨论法：教师组织学生进行小组讨论，鼓励学生分享自己的理解和观点，培养学生的批判性思维和表达能力。

四、教学准备：1. 教材：《等待戈多》剧本文本。

2. 投影仪或白板：用于展示剧本文本和相关的图片或图表。

3. 教学PPT：包括剧本概述、作者简介、剧本结构和风格等内容。

五、教学过程：1. 导入：教师简要介绍剧本的背景和作者塞缪尔·贝克特，激发学生的兴趣。

2. 阅读剧本：学生阅读剧本节选部分，注意理解角色的对话和情节的发展。

3. 剧本分析：教师引导学生对剧本文本进行细致的分析，探讨角色的心理变化和戏剧的主题。

4. 小组讨论：学生分组讨论剧本中的象征意义和荒诞性，分享自己的理解和观点。

5. 总结：教师对学生的讨论进行总结，强调剧本的重要性和影响，引导学生思考戏剧对现实生活的启示。

六、教学评估：1. 课堂参与度：观察学生在讨论和问答中的积极性，评估他们对剧本的理解和思考深度。

2. 小组讨论报告：评估学生在小组讨论中的表现，包括他们的分析能力、批判性思维和表达能力。

为什么要苦苦“等待”
写作背景
本剧写于1952年。20世纪50年代的西方，“二 战”中骇人听闻的法西斯暴行，原子弹在广岛的 爆炸，600万犹太人的被屠杀，使人们对传统的 道德标准和价值观产生根本的怀疑。战后两大阵 营无休止的军备竞赛和核威胁仍使世界局势动荡 不安。新兴的现代工业革命给人类带来巨大物质 财富的同时，也加大了贫富差距，把一大批人甩 入“无产者”的行列。整个西方经济萧条，社会 混乱，道德沦丧，人们思想苦闷，精神空虚，对 未来失去信心。
探讨：作者为什么要用这样的形式来描 述真实的社会？
知人论世的文学解读方法 知人论世——要真正理解作品，就必须
了解作者的身世、经历、思想、情感、人 品等，同时还要了解作者所处的时代环 境和文化背景。只有这样，才能在准确 深刻体会这部作品的意义，才能对作品 作出准确公允的评价。
塞缪尔· 贝克特(1906—1989)，贝克特于1906年 生生于爱尔兰一个犹太中产阶级家庭，从小就耳 闻目睹人民被奴役的惨状。天主教的束缚，社会 的守旧，政府对思想与出版的严厉控制与检查， 都使他无法忍受。他曾经嘲弄那些在教堂里划十 字的教徒：“一天，爱尔兰的狗也将会这样做， 可能猪也会如此。”大学毕业后，贝克特结识了 著名的“意识流”作家乔伊斯(《尤利西斯》)， 创作思想受到他的很大影响。贝克特后来设法逃 出了爱尔兰，来到法国，1937年定居巴黎。在巴 黎，他看到的是灯红酒绿与失业贫困的惊人对比。
这段对话反映了他们的何种境遇？表 现了什么样的社会现实?
思考：
两个流浪汉等待戈多时，语 无伦次地谈到《圣经》中两个 贼的故事，这段对白表现了一 种什么样的社会现实? 第102——103页
读文本，体会人物的生存状态
第100页——101页的对话 他们彼此之间能对话交流吗？能理解对

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13 等待戈多（节选）从容说课荒诞派戏剧是第二次世界大战以后西方戏剧界最有影响的流派之一。

它兴起于法国，20世纪50年代在巴黎戏剧舞台上上演了贝克特等剧作家的剧作。

这些作家打破了传统戏剧的写作手法，创作了一批从内容到形式别开生面的剧作。

这些作品呈现在舞台上的形象是光怪陆离、荒诞不经的。

这些作品逐渐地获得了社会承认，并被不少国家竞相上演。

在法国戏剧影响下，其他国家也相继出现了一些从事这种新戏剧创作的剧作家。

60年代初，英国著名戏剧理论家马丁·埃斯林给这一流派定名为荒诞派戏剧。

《等待戈多》是贝克特的代表作，也是荒诞派戏剧的一部经典作品。

全剧共两幕，只有一个场景和六个人物。

戈多是“焦点人物”。

人们望眼欲穿地盼着他到来，但他始终未露面。

他是什么人，要来干吗，人们为什么等他，都是一个个谜。

这样的人物，这样的剧情，似乎荒诞不经，却含有很大的隐喻性，象征西方当代人的某种精神状态，西方社会的某些特征。

拟定一课时。

教学设想：自读本文，要把诵读作为重要环节，揣摩剧中人的语言，体会它表达了说话人怎样的思想感情，把握全剧的中心，初步鉴赏荒诞派戏剧的艺术特色。

教学重点以“两个流浪汉在等待什么”为突破口理解本剧的“等待”主题。

教学难点理解本剧人物梦呓之言和无聊动作所隐藏的人生痛苦与绝望。

教具准备多媒体课件。

课时安排一课时。

三维目标知识与能力1.了解荒诞派戏剧的特点。

2.分析了解荒诞派戏剧和传统戏剧的不同。

3.分析了解支离破碎的语言描写在塑造人物形象时起的作用。

过程与方法1.合作探究，分析戏剧冲突与人物形象。

2.品味鉴赏，体会戏剧艺术魅力及其主题。

情感态度与价值观领会全剧的基本内容，理解作品的主题及其所表现的现代文明社会中人们精神上的失望、苦闷和迷惘。

教学过程导入新课师在上新课前，我们先来欣赏几个片段：（多媒体课件播放某某影片《大话西游》的几个片段）1.唐僧被牛魔王抓住要被绞死了，这时天空中乌云密布，电闪雷鸣，唐僧扬声高叫：打雷了，下雨了，收衣服了。

等待戈多－教学教案一、课文悟读初读等待戈多，你会觉得它太没“戏〞了。

你看，剧中人物就是两个衣衫褴褛，浑身发臭的流浪汉爱斯特拉冈和弗拉季米尔。

他们在乡间小道的一棵枯树下焦急地等待戈多。

戈多是谁等他干什么这两个流浪汉也不清楚。

他们就这样莫名其妙地等着，靠梦呓般的对白和无聊的动作消磨时间。

最终，戈多没来，于是他们又在其次天晚上等待，但其次天戈多仍没来，他们只好连续等待。

假如说这也算是戏剧情节的话，情节就这么简洁，就这么荒谬!假如说有所悟的话，只能说，剧中写的两个流浪汉卑微、低贱，生活毫无着落，他们迷离恍惚，浑浑噩噩，完全丢失了人的理性和尊严。

但是，当我们联系本剧的写作背景再次阅读，就可理解到，萨缪尔·贝克特以两个流浪汉为主要人物有深刻的用意。

本剧写于1952年。

20世纪50年月的西方，“二战〞中骇人听闻的法西斯暴行，原子弹在广岛的爆炸，600万犹太人的被屠杀，使人们对传统的道德标准和价值观产生根本的疑心。

战后两大阵营无休止的军备竞赛和核威逼仍使世界局势动乱担忧。

新兴的现代Z41,革命给人类带来巨大物质财宝的同时，也加大了贫富差距，把一大批人甩入“无产者〞的行列。

整个西方经济萧条，社会混乱，道德沦丧，人们思想苦闷，精神空虚，对将来失去信念。

面对这种现实，力图通过本剧反映这一“社会真实〞，弹出“一个时代的绝望之音〞。

如此看来，剧中的两个流浪汉正是被社会挤压扁了的“非人的缩影〞；他们无聊的动作、莫名其妙的梦呓之言，正是人们精神空虚的外化；他们永无休止而又毫无期望的等待，揭示了世界的荒谬与人生的苦痛，表现了现代西方人期望转变自己的生活境况但又难以实现的无望心理。

在把握了的创作意图后，再次赏读作品，就会领悟到，剧作有意打破传统戏剧常规，既无扣人心弦的戏剧冲突，又无情节结构；有意让剧中人物说一些莫名其妙的对白和做一些无聊的动作，这恰恰是荒谬派戏剧作家贝克特独特的艺术手法。

这种“荒谬〞的艺术形式，正好表现出西方社会正经受着难以克服的精神危机；这种非理性夸张，再加上舞台、灯光、道具、剧中人物荒谬的外形，使隐蔽于内心的苦痛与恐怖更肤浅更猛烈。

。安全工程师培训/course/all/1-29/
就这样，这被窝一暖就是3年。直到 那年，我6岁，您42岁 看着哥哥姐姐们像快乐的小鸟一样，在上学的小路上飞来飞去，我便也哭闹着要进学堂。 于是，妈妈为我缝了一个花书包，您为我搬了一个小板凳，拉着我的 小手就把我送入了学堂。 送我上学的路上，您一遍又一遍地叮嘱我：妞妞，上学第一天，要听老师的话哟！结果进学堂一看，教室里全是比我大的哥哥姐姐们。他们会念书，会写字，会回答老师提出的问题。有时我也会把小手 举得高高的，可是我什么都不会。还遇到比我高大很多的男生给我取绰号，一把把我抱到 高高的课桌上，把我吓得哇哇大哭。性格倔强的我哪里受得了这屈辱。拎着板凳就退学。回家一看见您，我委屈的泪水像决堤的江河一样哗哗流淌。您心疼的拥我入怀，语重心长地对我说：妞妞不怕， 路要一点一点走，书要一页一页读。慢慢来。一切都会好起来的'.说完您又一次抱起我，又把我送入了知识的殿堂。后来我才知道，我是从小学一年级下学期入的学堂。连汉语拼音都不会，哪里会跟得 上老师的课堂。但每当我退缩时，您鼓励的话语就会回响在我的耳旁。于是我又一次次鼓起信心向前走去。凭着我的小聪明，居然把成绩搞的像模像样。 那年，我11岁，您47岁 刚刚小学毕业的我，以优异的成绩考入了当时夙有小清华之称的庞营中学。昏暗的灯光下，我默默地看着您为我准备行囊。学校距离家有十几里的远。为了怕我走远路累着，您特意买了一辆崭新的自行 车，驮着我把我送入了陌生的学堂。陌生的校园，陌生的老师，陌生的教室，陌生的同学。陌生的一切让我倍感恐惧。听着别的同学有声有色地朗读英语课文，连26个英文字母都不认识的我，又一次感 到了无助，彷徨。我一次次想退缩，但又一次次看到您期待的目光，我的心一次次被您鼓励的目光征服了。后来的后来，我自然后来者居上，成了您引以为豪的乖妞妞。连老师见了您都一个劲地夸我呢。 每个周六的晚上，一放学我便站在大门口。翘起脚尖看着远方。此时定会在大门不远处，看到您推着自行车向我招手呢。我飞奔向您，一跃坐上自行车后座，骄傲地对同学介绍：这是我爸爸.有时调皮 的我也会站在自行车后座上，张开双臂像小鸟一样飞翔。就这样，您用自行车驮着我，在中学的道路上，一飞就是3年。

我们究竟该怎样看待小说所揭示的这种现象？
友情提示：善于读书
孟子说：“尽信书不如无书。” 刘向说：“书犹药也，善读方能医愚。”
飞得更高（汪峰）
生命就像一条大河，时而宁静时而疯狂。现实就 像一把枷锁，把我捆住无法挣脱。 这谜样的生活锋利如刀， 一次次将我重伤，我知 道我要的那种幸福就在那片更高的天空。 我要飞得更高，飞得更高，狂风一样舞蹈，挣脱 怀抱。我要飞得更高，飞得更高， 翅膀卷起风暴，心 生呼啸，飞得更高。 一直在飞，一直在找，可我发现，无法找到，若 真想要，是一次解放，要先剪碎，这有过的往。 我要的一种生命更灿烂，我要的一片天空更蔚蓝， 我知道我要的那种幸福就在那片更高的天空。
特点：
无聊
2、脱帽子： （窥、摸、抖、戴、 敲······）
由两人的语言和动作可知，他们在等待时 处于一种怎样的状态？
无聊、空虚和无奈
那么他们到底在等待什么？
等待戈多
孟京辉（中央实验话剧院导演 ） “这是一部平庸的好戏！说他平庸， 那是因为他基本上没有任何创新， 没有任何值得拿出来说的东西，现 在我们看戏一般都要看出特别的东 西，但它基本没有，我只能说这实 在是一部太没有才气的戏。说它还 算是一部好戏，因为这种平庸还是 平庸出了一种味道。“
战争
据统计，世界人口的80%被卷入了第二次世界大战， 在战争中丧生的总人数大约为五千万左右，全世界被毁坏 的物质财富高达四万多亿美元。
经济
据统计， 在1929年～1933年资本主义世界经济危机中，整个资 本主义世界的工业生产下降了1／3以上，贸易额减少2／3。1933年 初，美国已经有半数银行倒闭，完全失业人数达到1500万～1700万 人，还有许多人处于半失业状态。整个资本主义世界的失业人数高 达三千万人以上。