Setting
‘A country road. A tree. Evening.’
Does it matter where the play is set? The nondescript place - described only as ‘here’ by the characters - may not even be the ‘right’ place: ‘You're sure it was here?’ wonders Estragon.
The ‘next day’ the bare tree has gained a few leaves - in one day? - real time? All we can be sure about is how the characters react to the tree.
The ‘country road’ does not lead anywhere. Pozzo wants to use the road to reach the fair where he can sell Lucky, but is returned to this same place. The players’ freedom of movement is restricted, and have they anywhere to go anyway? Anywhere else is remote, indifferent, absent. There is nowhere else to distract the attention of either players or audience.
All we can know about such a ‘road’ (anywhere) with its ‘wings’ and ‘corridor, on the left’ is that it is a theatrical stage; says Pozzo: ‘Where are we? … It isn't by any chance the place known as the Board?’ This unreal, non-representational place is simply a place to be filled with words. And the players are acutely aware of their role.
[Estragon moves to centre, 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: I'll be back.
[He hastens towards the wings.]
Estragon: End of the corridor, on the left.
Vladimir: Keep my seat.
Reality for Vladimir and Estragon is that they find themselves here, on the stage, with roles to play.
Vladimir: We’re surrounded! [Estragon makes a rush towards back.] Imbecile! There’s no way out there. [He takes Estragon by the arm and drags him towards front. Gesture towards front.] There! Not a soul in sight! Off you go. Quick! [He pushes Estragon towards auditorium. Estragon recoils in horror.] You won’t? [He contemplates auditorium.] … Your only hope left is to disappear.
The focus is on the nature of human existence, regardless of where the characters are.
