Voice and Discourse in the Irish Context by Diana Villanueva Romero Carolina P. Amador-Moreno & Manuel Sánchez García

Author:Diana Villanueva Romero, Carolina P. Amador-Moreno & Manuel Sánchez García
Language: eng
Format: epub
Publisher: Springer International Publishing, Cham

In the light of these few examples, it becomes clear that the stage directions in Waiting for Godot, due to their recurrent—and sometimes exclusive—use, have a role for specifying character traits. But is this refined arrangement a faithful rendering of the original French text?

5 Differences between Waiting for Godot and En Attendant Godot

It is my contention that the stage directions of Waiting for Godot should be considered a consequence of Beckett’s continuous process of craftsmanship, since the stage directions in the English text differ greatly from those in the French version, at least from a stylistic point of view. In the case of Pozzo, for instance, the only example used in English on more than one occasion to introduce his words—[sobbing], employed twice and attached to his utterances exclusively—can only be found in the original play once, with no authorial comment in the other instance about how his words are to be uttered (Table 5):30 Table 5Recurrent stage directions with Pozzo in Waiting for Godot and French equivalencies

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