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"Something to be Done": Applying Technique to Waiting for Godot

  • Author(s): McIntyre, Sean Henry
  • Advisor(s): Barricelli, Marc
  • et al.

"How does one even begin to approach a text like Samuel Beckett's Waiting for Godot?" This is a question I've asked myself on multiple occasions. After having seen both the 2009 and 2013 Broadway productions (both of which I thoroughly enjoyed), and having read multiple publications about the play, I was still nowhere close to an answer. One could then imagine my excitement after having been cast as Vladimir in my final production here at UCSD.

Over the past three years, I have been challenged in ways I never expected. It has been specifically through text, voice, and movement training that I now feel the confidence to approach any role (daunting as some may be) with tenacity and vigor as opposed to hesitance and trepidation. The table work we did on Waiting for Godot could have gone on for weeks, because of the rigor and importance I have learned to put into detailed analysis of the text. Specificity of movement was crucial in the story telling, as my character is constantly in pain and clowning has such a heavy presence in the play. The authenticity and clarity of my vocal work was equally important, making sure shouting from the top of the mound for a full minute carries the same weight and power as moments of quiet despair.

These are the set of tools with which I approached this intimidating play, and with which I now feel ready to carry with me throughout the rest of my career.

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