CHAPTER 1
INTRODUCTION
A. Background
Samuel Barclay Beckett was an Irish avant-garde writer, playwright, theatre director, and poet. He wrote both in English and French. Beckett is widely regarded as among the most influential writers of the 20th century. Strongly influenced by James Joyce, he is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the "Theatre of the Absurd". His work became increasingly minimalist in his later career. Beckett was awarded the 1969 Nobel Prize in Literature "for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation". He was elected Saoi of Aosdána in 1984.
One of the most well-known Beckett work is two act play titled “Waiting For Godot”. Waiting for godot is an absurdist play which is written by Samuel Beckett which tells about two characters that wait endlessly and in vain for someone named Godot to arrive. Waiting for godot is Beckett’s English translation of his own original version titled”En attendant Godot”. The original version is written between 9 October 1948 and 29 January 1949. The first performance was on 5 January 1953 in the Théâtre de Babylone, Paris. It was directed by Roger Blin who also played as Pozzo in that performance.
The other Beckett works which only two act play is”Happy Days”. Happy Days is a play which is written in English. Beckett needs eight months to finish this work. He began to write the play on 8 October 1960 and it was completed on 14 May 1961. He finished the French version by November 1962 but change the title become “In a moment of inspiration”. He took the title “Oh les beaux jours”, from Verlaine’s poem titled “Colloque sentimental”.
B. Problem Statement
In order to comparing intrinsic elements of both plays (Waiting for Godot and Happy days), the writer limits the discussion into problems as formulated as follows:
1) What is Play?
2) What is intrinsic element of a Play?
3) What are the differences of intrinsic element especially in character, characterization, plot and setting of Waiting for Godot and Happy Days?
CHAPTER II
THEORITICAL FRAMEWORK
A. Play
Play is a form of literature written by a playwright, usually consisting of scripted dialogue between characters, intended for theatrical performance rather than just reading (http://en.wikipedia.org).The other definition of play is a dramatic composition written for performance by actors on a stage, on television, etc; drama (http://dictionary.reference.com). From two definitions above, we can take a line that Play is literature performance which is done by actress or actor on a particular place called stage to perform scripted dialogue between characters which is written by playwright, intended for theatrical performance rather than just reading.
There is several kind of play. First is Comedy. Comedy is a kind of play which is designed to be humorous. Second is Farce. Farce is nonsensical genre of play and often involves slapstick humor. Slapstick humor is a kind of humor which is used a stick to make the spectator laugh. The stick which is used here is just a stick with a great audible effect while causing very little actual physical damage. Third is Satirical. Satirical is a play which is used comic looks and famous which have purpose to make a political or social statement. Fourth is Tragedy. Tragedy is a play which is intended to make the viewer to feel sadness by including the death in its story.
B. Intrinsic Elements
E.M. Forster quoted by Razali Kasim, MA in Introduction to Literature stated that the important elements in prose are character, theme, plot, setting, and point of view. Those are called as intrinsic element. Intrinsic elements are the basic in literary work, without those elements the literary work can’t exist. Those intrinsic elements are interrelated to one another and they work as whole (http://repository.usu.ac.id/). From the short explanation above we can take a line that intrinsic element is consisting of several aspects such as character, theme, plot, and setting
1. Character
Character is the most important thing in a story. Character is the motor for a story without character there will be no plot because character is the one who move the story. Character is defined as an imaginary person that inhabits a literary work. Literary characters may be major or minor, static (unchanging) or dynamic (capable of change) (http://highered.mcgraw-hill.com). Character exists not only in a human being form, but also in other form, for example animal, and also unliving thing as long as the living thing contribute important event that can create plot.
There are two types of character, major and minor character. Major character is the most important character inside a story. But the most important thing about major character is that major character cannot appear alone. Major character needs another character to support the way of the story. The other character is minor character. Minor character is less important than major character but very important for the way of story.
If there is character, there must be characteristic. It is a must. Because those two things such like a two-sided coin. Both, character and characteristic make every single story becomes special and more interesting. Characteristic is defined as the author’s way of describing his characters in a literary work or what the writers present and reveal the character. There are four level of characterization, they are as follow:
a. Physical
Analyze a character trough external trait such as fat, skinny, tall, short or everything related with appearance of each character.
b. Social
Analyze a character through its economic status, occupation, religion, family, social relationship, education background, etc.
c. Psychological
Analyze a character through its habitual responses, attitudes, desires, and motivation, intellectual which led to action.
d. Moral
Moral decisions more clearly differentiate characters than any other level of characterization. A moral decision usually causes a character to examine his motives and values.
2. Theme
Theme is the idea of a literary work abstracted from its details of language, character, and action, and cast in the form of a generalization. (http://highered.mcgraw-hill.com).
3. Plot
The unified structure of incidents in a literary work
(http://highered.mcgraw-hill.com). Plot is separated as two elements of plot structure. They are flashback and suspense. Flashback occurred when the earlier events is described later. Suspense is the way of sustaining the viewer curiosity of what will happen next in the story.
Plot must be effective. It must include a sequence of incidents that related to each other. The bottom line is, plot is the sequence of events inside a story. There are five essential part of Plot as described as follow:
a. Exposition
The first stage of a fictional or dramatic plot, in which necessary background information is provided (http://highered.mcgraw-hill.com).
It will be founded at the beginning of the story, when the setting and the characters are revealed.
b. Rising Action
A set of conflicts and crises that constitute the part of a play's or story's plot leading up to the climax (http://highered.mcgraw-hill.com).
Rising action is the central part of arise, leading up to the climax. In this part, the problem is revealed.
c. Climax
The turning point of the action in the plot of a play or story. The climax represents the point of greatest tension in the work (http://highered.mcgraw-hill.com). Simply said that climax is the highest point of a story where problem or conflicts changes and is solved.
d. Falling action
In the plot of a story or play, the falling action following the climax of the work that moves it towards its denouement or resolution (http://highered.mcgraw-hill.com). The falling action is the part of plot where the series of events will take place after climax.
e. Resolution
The sorting out or unraveling of a plot at the end of a play, novel, or story (http://highered.mcgraw-hill.com). In the other word, resolution is series of events that follow the climax and thus serve as the conclusion of the story where the conflicts are resolved.
4. Setting
The time and place of a literary work that establish its context (http://highered.mcgraw-hill.com). Simply said that setting is the place and time that will be used by the character to play each event inside a story. Perfect setting will make a play become life-like play.
CHAPTER III
DISCUSSION
1. Character and Characterization
In the script of Waiting for Godot there are several characters which are provided by Samuel Beckett. There are two main characters inside this play, VLADIMIR and ESTRAGON. The other character who is minor character is LUCKY, POZZO, and the BOY.
Estragon is one of the two protagonists. Estragon sits down numerous times and even dozes off. It can be seen from this following part of Waiting for Godot play;
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 has no memory beyond what is immediately said to him, and relies on Vladimir to remember for him.
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?
ESTRAGON: 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.
Estragon is impatient and constantly wants to leave Vladimir, but is restrained from leaving by the fact that he needs Vladimir.
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?
Another thing about Estragon, he has an idea for the bums to pass their time by hanging themselves.
ESTRAGON: Why don't we hang ourselves?
VLADIMIR: With what?
ESTRAGON: You haven't got a bit of rope?
VLADIMIR: No.
ESTRAGON: Then we can't.
Silence.
VLADIMIR: Let's go.
ESTRAGON: Wait, there's my belt.
VLADIMIR: It's too short.
ESTRAGON: You could hang onto my legs.
VLADIMIR: And who'd hang onto mine?
ESTRAGON: True.
VLADIMIR: Show me all the same. (Estragon loosens the cord that holds up his trousers which, much too big for him, fall about his ankles. They look at the cord.) It might do in a pinch. But is it strong enough?
ESTRAGON: We'll soon see. Here
ESTRAGON has been compared to a body without an intellect, which therefore needs Vladimir to provide the intellect. Estragon is very desperate man who has no hope at all.
In the other hand, VLADIMIR is someone who is very optimist. He always looking for a hope, hope to meet the man named GODOT. He believe that GODOT will meet him at the end of his endless waiting.
VLADIMIR has a big curiosity, he always ask to her friend ESTRAGON for detail
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?
His big curiosity can be seen when he had a conversation with the BOY (Mr.Godot Servant who mind the goats)
BOY: Mister . . . (Vladimir turns.) Mister Albert . . .
VLADIMIR: Off we go again. (Pause.) Do you not recognize me?
BOY: No Sir.
VLADIMIR: It wasn't you came yesterday.
BOY: No Sir.
VLADIMIR: This is your first time.
BOY: Yes Sir.
Silence.
VLADIMIR: You have a message from Mr. Godot.
BOY: Yes Sir.
VLADIMIR: He won't come this evening.
BOY: No Sir.
VLADIMIR: But he'll come tomorrow.
BOY: Yes Sir.
VLADIMIR: Without fail.
BOY: Yes Sir.
VLADIMIR has been compared to a body with intellect and passion. But actually, the way he think sometimes make himself become more confuse. At the end of story, finally he give up and end up his endless waiting for someone named GODOT.
ESTRAGON: Well? Shall we go?
VLADIMIR: Pull on your trousers.
ESTRAGON: What?
VLADIMIR: Pull on your trousers.
ESTRAGON: You want me to pull off my trousers?
VLADIMIR: Pull ON your trousers.
ESTRAGON: (realizing his trousers are down). True.
He pulls up his trousers.
VLADIMIR: Well? Shall we go?
ESTRAGON: Yes, let's go.
From those part of play, can be concluded that finally VLADIMIR gave up with his waiting. He left no patient at all anymore. At the very first time VLADIMIR put a hope to meet GODOT, as time goes by, those hope is fading and he give up for this.
The minor character of Waiting for Godot is LUCKY, POZZO and the BOY. LUCKY is the slave of Pozzo. He is tied to Pozzo via a rope around his neck and he carries Pozzo's bags. Lucky is only allowed to speak twice during the entire play, but his long monologue is filled with incomplete ideas.
LUCKY: Given the existence as uttered forth in the public works of Puncher and Wattmann of a personal God quaquaquaqua with white beard quaquaquaqua outside time without extension who from the heights of divine apathia divine athambia divine aphasia loves us dearly with some exceptions for reasons unknown but time will tell and suffers like the divine Miranda with those who for reasons unknown but time will tell are plunged in torment plunged in fire whose fire flames if that continues and who can doubt it will fire the firmament that is to say blast hell to heaven so blue still and calm so calm with a calm which even though intermittent is better than nothing but not so fast and considering what is more that as a result of the labors left unfinished crowned by the Acacacacademy of Anthropopopometry of Essy-in-Possy of Testew and Cunard it is established beyond all doubt all other doubt than that which clings to the labors of men that as a result of the labors unfinished of Testew and Cunnard it is established as hereinafter but not so fast for reasons unknown that as a result of the public works of Puncher and Wattmann it is established beyond all doubt that in view of the labors of Fartov and Belcher left unfinished for reasons unknown of Testew and Cunard left unfinished it is established what many deny that man in Possy of Testew and Cunard that man in Essy that man in short that man in brief in spite of the strides of alimentation and defecation wastes and pines wastes and pines and concurrently simultaneously what is more for reasons unknown in spite of the strides of physical culture the practice of sports such as tennis football running cycling swimming flying floating riding gliding conating camogie skating tennis of all kinds dying flying sports of all sorts autumn summer winter winter tennis of all kinds hockey of all sorts penicillin and succedanea in a word I resume flying gliding golf over nine and eighteen holes tennis of all sorts in a word for reasons unknown in Feckham Peckham Fulham Clapham namely concurrently simultaneously what is more for reasons unknown but time will tell fades away I resume Fulham Clapham in a word the dead loss per head since the death of Bishop Berkeley being to the tune of one inch four ounce per head approximately by and large more or less to the nearest decimal good measure round figures stark naked in the stockinged feet in Connemara in a word for reasons unknown no matter what matter the facts are there and considering what is more much more grave that in the light of the labors lost of Steinweg and Peterman it appears what is more much more grave that in the light the light the light of the labors lost of Steinweg and Peterman that in the plains in the mountains by the seas by the rivers running water running fire the air is the same and then the earth namely the air and then the earth in the great cold the great dark the air and the earth abode of stones in the great cold alas alas in the year of their Lord six hundred and something the air the earth the sea the earth abode of stones in the great deeps the great cold on sea on land and in the air I resume for reasons unknown in spite of the tennis the facts are there but time will tell I resume alas alas on on in short in fine on on abode of stones who can doubt it I resume but not so fast I resume the skull fading fading fading and concurrently simultaneously what is more for reasons unknown in spite of the tennis on on the beard the flames the tears the stones so blue so calm alas alas on on the skull the skull the skull the skull in Connemara in spite of the tennis the labors abandoned left unfinished graver still abode of stones in a word I resume alas alas abandoned unfinished the skull the skull in Connemara in spite of the tennis the skull alas the stones Cunard (mêlée, final vociferations) tennis . . . the stones . . . so calm . . . Cunard . . . unfinished . . .
He is silenced only by the other characters that fight with him to take of his hat. Lucky appears as a mute in the second act.
POZZO is LUCKY’s master. POZZO is the master who rules over Lucky. He is very cruel to LUCKY, he asks LUCKY to bring all of his stuff. He treat LUCKY as his slave. He had already lost his humanity. It can be seen from this following part;
POZZO: Give me that! (She snatches the hat from Vladimir, throws it on the ground, tramples on it.) There's an end to his thinking!
VLADIMIR: But will he be able to walk?
POZZO: Walk or crawl! (She kicks Lucky.) Up pig!
ESTRAGON: Perhaps he's dead.
VLADIMIR: You'll kill him.
POZZO: Up scum! (She jerks the rope.) Help me!
VLADIMIR: How?
POZZO: Raise him up!
The other minor character is the BOY. He appears to tell VLADIMIR that GODOT will come at the next following day. The boy is a servant of GODOT. He plays an identical role in both acts by coming to inform VLADIMIR and ESTRAGON that GODOT will not be able to make it that night, but will surely come the next day. The boy never remembers having met VLADIMIR and ESTRAGON before. He has a brother who is mentioned but who never appears.
In the other hand, the amount of main character that Beckett brought to us is almost same between Waiting for Godot and Happy Days. Waiting for Godot has VLADIMIR and ESTRAGON as its main character meanwhile Happy Days has WINNIE and WILLIE as main character. The other character which is minor character inside Happy Days is Shower or Cooker or fiancée and Mildred. The minor character never appears in this play. It is only a fantasy of WINNIE.
WINNIE is the protagonist, and married to WILLIE. WINNIE is buried in a mound of earth that grows higher each day. There is nothing she can do about it other than try to remain oblivious of her condition. Ever sinking deeper into the earth, she does what she can and persuades herself that things are always 'no better - no worse - no change'. She fills up her days with talk that WILLIE ignores rituals with implements from her black bag, and with the nearly constant optimistic proclamation that today will be a "happy day." WINNIE does monologue almost 99 % of the play itself. WINNIE is a woman who is very optimist, except for her few moments of sadness. She is dependent on WILLIE, she needs someone to listen to her at least some of the time, or else she feels like she may as well as not speak at all. She does everything to ease all his loneliness. She combs her hair; brush her teeth or fiddling her umbrella. Sometimes she imagines of shower and his fiancée illusion that someone is watching her and cares about her.
The other character inside of Happy Days is WILLIE. He is WINNIE’s husband. He is very patient man. He only speaks when he feel irritates with WINNIE or when he read the headline of newspaper. WILLIE only takes a small part in this play. Most of part is taken by WINNIE and her monologue.
From the explanation above we can compare the major character of Waiting for Godot and Happy Days as follows
a. Traits of major character
WINNIE and VLADIMIR have a same trait. Both are people who are fighting for a hope. VLADIMIR fight for a hope to meet with the person named GODOT. In the other hand, WINNIE is someone who is looking for the happy days that she has already wait. The differences between them just place on their effort. VLADIMIR does some effort to meets GODOT. It can be seen the way how he convince his friend ESTRAGON to accompany him to wait GODOT, seeking information from the boy, etc. In the other hand, WINNIE just waiting for those days comes. She only fills her days with unused thing (brushing her teeth, combing her hair, fiddling with her parasol).
b. Background of the major character
VLADIMIR and ESTRAGON is bum. It can be seen from the appearance of them. They just wear old dirty clothes and hat. They had nothing but the clothes that they wear. In the other hand, WILLIE and WINNIE is a couples who can’t be happy at all. WINNIE is buried waist-deep in a mound of earth that grows higher each day meanwhile WILLIE lies in a hole behind her. But the important point is, all of the main character is suffering. They are suffering in a different way. Bottom line, they are suffering
2. Plot
a. Waiting for Godot Plot summary
There are two men, VLADIMIR and ESTRAGON, meet near a tree. Then they have a conversation about several topics and end with a conversation talking about someone named GODOT. While they wait, POZZO is on his way to the market with his slave named LUCKY. POZZO stop for a while for having a conversation with VLADIMIR and ESTRAGON. Then LUCKY amusing them with his dance and his though. Then POZZO and LUCKY leave VLADIMIR and ESTRAGON to continue their journey.
After POZZO and LUCKY fade out, a BOY enters and tells VLADIMIR that GODOT is not able to come tonight. The BOY tells that GODOT will surely come tomorrow. To seek more information about GODOT, VLADIMIR starts to question the BOY. He asks several questions to the BOY. The BOY try answer VLADIMIR’s question as well as he can then he departs. After his departure, VLADIMIR and ESTRAGON decide to leave, but they do not move at all until the morning comes.
The next following night, VLADIMIR and ESTRAGON meet POZZO and his slave LUCKY. But at this time, POZZO is blind and LUCKY is dumb. POZZO does not remember that he had already met with VLADIMIR and ESTRAGON at the previous day. Then POZZO and LUCKY leave VLADIMIR and ESTRAGON who still waiting for GODOT.
Shortly, the BOY enters and once again, he tells to the VLADIMIR that GODOT is not being able to come this night. The BOY does not remember that he ever meets with VLADIMIR at the previous day. The BOY tells about the same information to VLADIMIR, he said that GODOT will surely come tomorrow. Then the BOY departs. VLADIMIR and ESTRAGON decide to leave, but again they do not move from that place as the curtain falls.
b. Happy Days Plot Summary
WINNIE is a 50 years old woman who is buried waist-deep in a mound of scorched earth, with just a large, black shopping bag and a collapsed parasol. Behind her and hidden from view sleeps WILLIE. The bells rang and the WINNIE does several cleaning rituals—brushing her teeth, etc.—with implements from the bag. Then WILLIE reads out a headline that announces the death in the bathtub of a priest, and reads about a job opening for youth.
WINNIE regrets not letting WILLIE sleep, and wishes she could tolerate being alone. She says that if WILLIE died or left her, she would never say another word. She obviously wonders if she combed her hair and brushed her teeth, and locates the brush and comb in her bag. She resolves to "brush and comb them later.” She tells WILLIE to get into his hole to avoid the sun. She asks WILLIE if he will leave her soon, but he does not answer and says the earth around her is tightening.
She sees an ant on the ground and watches it carry a little white ball through the grass. WILLIE says it was eggs, and then says "Formication." WILLIE breaks into laughter. She joins him, but they alternate who is laughing. She says there is no better way to "magnify the Almighty" then by laughing at his little jokes, then wonders if she and WILLIE were laughing at different things.
WINNIE asks WILLIE if she were ever "lovable," but he does not respond. Though it is getting late, she says it is too soon for her song. She reaches into the bag and accidentally takes out the revolver. She inspects the revolver again and asks WILLIE if he remembers how he used to ask her to keep it away from him before he killed himself. WINNIE says that she is tired, and she'll leave the revolver out from now on. She asks WILLIE if he feels that way. He does not understand, even after she explains it.
WINNIE tries to open up her umbrella. After she opens the umbrella, She says she cannot put the umbrella down—she says she requires some change in the world for to move again. The umbrella catches on fire, and WINNIE throws it behind her to extinguish it.
The next day, WINNIE is covered up to her neck in the mound and cannot move her head. A bell rings and she opens her eyes. Pausing continuously, she tries to talk to WILLIE, who doesn't respond, and surmises that WILLIE has died, or left her "like the others." She saddens over her current condition, and grows anxious over the absence of her arms, breasts, and WILLIE.
The bell rings, and WINNIE asks WILLIE questions and, getting no response, says it's like him to not have an opinion. She recounts the story of a young girl, Mildred, who was undressing her doll in the middle of the night. WINNIE reprimands WILLIE for not paying attention, then fearfully questions if he may be stuck in the hole.
WINNIE sees WILLIE crawling toward her in a fashionable outfit. She says it reminds her of the day he proposed to her. He drops his hat and gloves and crawls toward her. He whispers "Win." She smiles at WILLIE, who looks at her, and she stops smiling. They continue looking at each other through a long pause.
c. The Comparison of Waiting for Godot’s and Happy Days’ plot.
Waiting for Godot and Happy Days has same plot. Both of them is chronological plot. Events are happen in sequence. The most important thing is both of them have two acts. Either Waiting for Godot or Happy Days has two acts.
Exposition, rising action, climax, falling action and resolution of both play is located at the same position. Eventhough this is two kind of play which is very different, but the positioning of Exposition, rising action, climax, falling action and resolution is almost same. It can be understood, because this play is come from a one source, Samuell Beckett. Beckett has his own style to determining the plot that will he used.
The resolution of Waiting for Godot and Happy Days is fully given to the viewer. Beckett wants the spectator interpret the message inside of his story by theirself.
3. Setting
a. Waiting for Godot’s Setting
There is only one scene throughout both acts. Two men are waiting on a country road by a tree as the picture below
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b. Happy Days’ Setting
There is only one scene throughout act 1 and act 2. But there is a little bit different only on the WINNIE position at act 2. WINNIE will bury deeper at ACT 2 and only her head that can be seen. Here is the illustration of Happy Days’ setting.
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c. The Comparison of Waiting for Godot’s and Happy Days’ setting.
Setting of Waiting for Godot and Happy Days is almost same each other. That is indicating that Beckett wants to show to us that he has his own style. He always plays TWO ACT play with static setting, small amount of character but very deep in the values.
CHAPTER IV
CONCLUSION
One of the most well-known Beckett work is two act play titled “Waiting For Godot”. Waiting for godot is an absurdist play which is written by Samuel Beckett which tells about two characters that wait endlessly and in vain for someone named Godot to arrive. Waiting for godot is Beckett’s English translation of his own original version titled”En attendant Godot”. The original version is written between 9 October 1948 and 29 January 1949. The first performance was on 5 January 1953 in the Théâtre de Babylone, Paris. It was directed by Roger Blin who also played as Pozzo in that performance.
The other Beckett works which only two act play is”Happy Days”. Happy Days is a play which is written in English. Beckett needs eight months to finish this work. He began to write the play on 8 October 1960 and it was completed on 14 May 1961. He finished the French version by November 1962 but change the title become “In a moment of inspiration”. He took the title “Oh les beaux jours”, from Verlaine’s poem titled “Colloque sentimental”.
Even those plays are written by Samuel Beckett, they still have differences. Their intrinsic elements are quietly different. Intrinsic element of a play is consisting of several aspects such as character, theme, plot, and setting.
Seen from the Character and characterization, we can compare as follows
a. Traits of major character
WINNIE and VLADIMIR have a same trait. Both are people who are fighting for a hope. VLADIMIR fight for a hope to meet with the person named GODOT. In the other hand, WINNIE is someone who is looking for the happy days that she has already wait. The differences between them just place on their effort. VLADIMIR does some effort to meets GODOT. It can be seen the way how he convince his friend ESTRAGON to accompany him to wait GODOT, seeking information from the boy, etc. In the other hand, WINNIE just waiting for those days comes. She only fills her days with unused thing (brushing her teeth, combing her hair, fiddling with her parasol).
b. Background of the major character
VLADIMIR and ESTRAGON is bum. It can be seen from the appearance of them. They just wear old dirty clothes and hat. They had nothing but the clothes that they wear. In the other hand, WILLIE and WINNIE is a couples who can’t be happy at all. WINNIE is buried waist-deep in a mound of earth that grows higher each day meanwhile WILLIE lies in a hole behind her. But the important point is, all of the main character is suffering. They are suffering in a different way. Bottom line, they are suffering
Seen from the plot, Waiting for Godot and Happy Days has same plot. Both of them is chronological plot. Events are happen in sequence. The most important thing is both of them have two acts. Either Waiting for Godot or Happy Days has two acts.
Exposition, rising action, climax, falling action and resolution of both play is located at the same position. Eventhough this is two kind of play which is very different, but the positioning of Exposition, rising action, climax, falling action and resolution is almost same. It can be understood, because this play is come from a one source, Samuell Beckett. Beckett has his own style to determining the plot that will he used.
The resolution of Waiting for Godot and Happy Days is fully given to the viewer. Beckett wants the spectator interpret the message inside of his story by theirself.
Seen from the setting, Waiting for Godot and Happy Days is almost same each other. That is indicating that Beckett wants to show to us that he has his own style. He always plays TWO ACT play with static setting, small amount of character but very deep in the values.
BIBLIOGRAPHY
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