学科分类号（二级）7405011本科学生毕业论文（设计） 题 目WaitingfortheAbsentOther:AnExistentialisticAnalysisofWaitingforGodot不在场的他者——从存在主义角度分析《等待戈多》姓 名 李秀才 学 号 094050113 院、 系 外国语学院英语系专 业 英语（师范4） 指导教师 谢楠 职称（学历） 助教（硕士） 2013年04月30日
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STATEMENTOFAUTHORSHIPExceptwherereferenceismadeinthetextofthethesis,thisthesiscontainsnomaterialpublishedelsewhereorextractedinwholeorpartfromathesispresentedbymeforanotherdegreeordiploma.Nootherperson’sworkhasbeenusedwithoutdueacknowledgementinthemaintextofthethesis.Thisthesishasnotbeensubmittedfortheawardofanyotherdegreeordiplomainmytertiaryinstitution.SignedDated
AcknowledgementsIamdeeplygratefultomysupervisorXieNanforherpatientguidance,generalassistance,helpfuladviceandcontinualencouragement,allofwhichhavebeenofinestimableworktothecompletionofmypaper.Withoutherhelpfulinstruction,detailedcomments,andbeneficialadvice,thispaperwouldhaveneverbeenfinishedsosmoothly.MythanksalsogotoalltheteacherswhohavetaughtmeandhelpedmealotduringthefouryearsofmystudyinYunnanNormalUniversity.Withouttheirteaching,Icouldnothavelearnedsomuch.Atlast,Iwouldliketoexpressmysinceregratitudetomyfamily,whogavemegreathelpandencouragementduringmyfouryears’studyandthethesiswriting.
AbstractSamuelBeckett’smasterpieceWaitingforGodotisoneoffamousabsurdplaysintheworld.Itislabeledas“Anti-Theater”,“NewTheater”,and“TheateroftheAbsurd”.Aswecansee,WaitingforGodotisaworkinthenameof“TheateroftheAbsurd”coinedbyMartinEsslin.WaitingforGodotwhichisregardedastheclassicoftheTheatreoftheAbsurdisBeckett’sturningpointfromnovelwritingtodrama,andalsoarepresentativeworkofthe20thcenturydramafrommodernitytopostmodernity.Basedonthecomplicatedsocialbackgroundandspiritualcrisisinthewesternworld,thisworktriestorevealtheabsurdlivingcondition,lonelinessandhopelessness,desolationandmeaninglessnessofwesternpeople.WaitingforGodotarousedthousandsofpeople’sresonanceafterthiswork’sfirstshowinParis.Thisworkalsoattractsmuchattentionofcriticsintheliteraryworld.Lotsofnewinterpretationscontinuouslyemergewithvariedviewsintheliteraryworld.Somecriticsarguethatthisworkdoesnotdisplaytheexistentialism,andsomeholditiscloselyrelatedtoexistentialism.SothispaperattemptstousetheliteraryandcriticismofexistentialismtoanalyzetherelationshipbetweenexistentialismandWaitingforGodotandtodiscussthemeaningsofwaitinginWaitingforGodotandtheabsurdityoftheplay.Keywords:WaitingforGodot;Theabsentother;Existentialism;Absurdity摘要萨缪尔贝克特的巨作《等待戈多》是世界著名的荒诞派戏剧。它总是被冠名为“反戏剧”，“新戏剧”以及“荒诞派戏剧”
。正如我们所知，《等待戈多》是马丁艾斯林荒诞派戏剧名义下的作品。荒诞派戏剧经典之作的《等待戈多》被认为是贝克特从小说写作到戏剧创作的转折点，也被认为是20世纪现代主义向后现代主义过渡的代表作。在西方世界精神危机和复杂的社会环境大背景下，这部作品旨在揭露西方人民荒诞的生活状况，孤独感，绝望感，分离感以及无意义的生活。《等待戈多》在巴黎上演处女秀过后，引起了成千上万人的共鸣。这部作品同时吸引了文学界大量学者的眼球。文学界从不同角度分析的著作源源不断，潺潺不息。许多评论员认为这部作品并没有呈现存在主义，但也有人认为它和存在主义有密不可分的关系。因此本论文将从存在主义的角度来分析《等待戈多》同存在主义的关系，讨论《等待戈多》找中等待的意蕴以及这部戏剧的荒诞性。关键词:《等待戈多》；不在场的他者；存在主义；荒诞
Contents1.Introduction…………………………………………………………………………11.1SamuelBeckettandWaitingforGodot…………………...........11.2Jean-PaulSartre’sExistentialism……………………………………...31.3TheOutlineoftheThesis2.Literaturereview……………………………………………………………………32.1TheStudiesAboardandatHome…………………………………..…42.2TheUniquenessoftheStudy…………………………….............................53.TheoreticalFramework……………………………………………………….…….63.1TheTheatreoftheAbsurd…………………………………….........63.2Jean-PaulStare’sExistentialism…………………………………...........................74.WaitingfortheAbsentOther:AnExistentialisticAnalysisofWaitingforGodot....................................................…....84.1TheAbsurdityofWaitingforGodot………………...84.1.1Plot……………………………………………..84.1.2Characters4.1.2TheIllogicalandMeaninglessDialogue……………………………………..94.1.3Circulation.................................................................................114.1.4NoCertainSpace-timeEnvironmentandCompleteStructure.4.2WaitingfortheAbsentOther……………...124.2.1TheAbsentOtherIsNothingness…………………………………134.2.2TheAbsentOtherIsSavior……………………………………………..144.2.3TheAbsentOtherIsBelief4.3AnExistentialisticAnalysisofWaitingforGodot……………….154.3.1Death…………………………………………..164.3.2TheMeaningofHumanExistence………………………...174.3.3ThePlaceofGod5.Conclusion……………………………………………………………………...18
References……………………………………………………………………………19
1.Introduction1.1SamuelBecketandWaitingforGodotSamuelBeckett(1906-1989)whoseworkoffersablack,tragicomicoutlookonhumannaturewasanIrishnovelist,playwright,theatredirector,andpoet.Beckettiswidelyregardedasoneofthemostinfluentialwritersofthe20thcentury,hisworkoftencoupledwithblackcomedyandgallowshumor.HeisconsideredoneofthelastmodernistsbecauseoftheinfluencefromJamesJoyce.Asaninspirationtomanylaterwriters,heisalsosometimesconsideredoneofthefirstpostmodernists.HeisoneofthekeywritersinwhatMartinEsslincalledtheTheatreoftheAbsurd.EspeciallyhisrepresentativeworkWaitingforGodotbecomestheclassicinthegenreofTheatreoftheAbsurd.Beckettwaswardedthe1969NobelPrizeinLiterature“forhiswriting,which——innewformsforthenovelanddrama,——inthedestitutionofmodemmanacquireitselevation”(TheNobelPrizeinLiterature1969)WaitingforGodotwaswrittenin1952,itwasfirstpublishedbyFrench,anditsfirstshowwasinParisin1953.TheWorldWarIIhadbiginfluencestotheplayandSamuelBeckett.PeoplearoundtheworldsufferedtoomuchfromtheWorldWarII,toomanypeoplewerestilldespair,helpless,panic,misgiving.SamuelBeckettwitnessedthecruelnessandinhumanityoftheWorldWarIIandthespiritcrisisofwesternpeople.WaitingforGodothasbecomeamodernclassicbecauseitgivesusahumansituationexpressedwithanemotionalforce.Theplayhasafar-reachinginfluence.Aswehaveseen,Beckett’sdramaticandverbalartembodiesvividimagesofactionandaprofoundvisionofhumanexistence.WhereverwereadWaitingforGodot,wecanseeimagesofspiritualloss,andofhumansufferings.Aprofoundsenseoflossdoespervadeallthisplay.Theplayspeakstousoftherealworld,ofhumancondition.1.2Jean-PaulSartre’sExistentialismHereExistentialismwillbeagreathelptoanalyzemythesis.TherehasneverbeengeneralagreementonthedefinitionofExistentialism.ItisgenerallybelievedthatthefirstprominentexistentialistphilosophertoadoptthetermwasJean-PaulSartrewhodidmosttobringexistentialismintotheartsandintosearchofforan
authenticwayoflifeonthepartofmanydisaffectedyouthofEuropeandAmerica.1.3TheOutlineoftheThesisWhiledoingmyargument,thefirstthingI’mgoingtodoistointroducestudiesonWaitingforGodotfromabroadandChina.Inthispart,wecanhaveageneralknowledgeofjudgmentsonWaitingforGodotandunderstandthesignificanceofWaitingforGodotinliteraturefieldandotherfields.Thenfollowingpartistopresenttheoreticalframeworkwhichwillhelpmetoanalyzemyargument.ThisthesiswilltouchExistentialismandTheTheatreoftheAbsurd.ThroughpartofSartre’sExistentialismandEsslin’sTheTheatreoftheAbsurd,thisthesiswillconcentrateonthefollowingtopic:TheabsurdityofWaitingforGodot;ThemeaningoftheAbsentOther;ThereflectionofExistentialisminWaitingforGodot.Thenfinallythisthesiswillgiveaconclusion.2.LiteratureReviewThecriticalresponsetotheworksofSamuelBecketthasbeenoverwhelming,especiallyafterthesuccessfulfirstshowofWaitingforGodotinParisin1953.AndtheplaymadeBeckettahouseholdword.AndthennumerousbooksandthousandsofarticleshavebeenpublishedonBeckett,primarilyinEurope,theUnitedStates,andCanada.SincehewrotemostofhisworksinFrench,andthentranslatedthemhimselfintoEnglish.AndthediversityoftheinterpretationstoBeckett’swokshasbeenvaried:political,psychological,philosophical,historical,thematic,postmodernism,Christian,autobiographical,homoerotic,andsoon.2.1StudiesAbroadandatHomeThefirstperiodisfrom1960sto1970s.Duringthisperiod,studiesmainlyfocusonformandcontent,theinfluenceofliterary,philosophicalandhistoricalideas.AndMartinEsslinwroteTheTheatreoftheAbsurd,itwasthemostfrequentlycitedresourcesfortheresearchofWaitingforGodotandotherfamousabsurdplays.EsslinreallythoughthighlyofWaitingforGodotandgavespecialappraisementsonit.IntheShapeofChaos:AnInterpretationoftheArtofSamuelBeckett,DavidHesla
examinesSamuelBeckett’snovelsandplaysfromtheperceptionofthehistoricalideas.HeshowshowSamuelBeckettwasinfluencedbythetheoriesofthepre-Socratics,therationalistsoftheseventeenthandeighteenthcenturies,Schopenhauer,Bergson,Hegel,Kierkegard,Sartre,andHusserl.Anydramacan’tlivewithoutthestage,soRubyCohn’sSamuelBeckett:theComicGamutconcernedWaitingforGodot’sstageperformance.HeusedBergson’scatalogofcomictechniquesasastartingpointforherstudyofthecomicelementsinBecket’sproseanddrama.Thesecondperiodisintheearly1980s.Lotsofcriticsmadeanin-depthanalysisofartandidentity.Someofthemevaluatethethemeofself-consciousnessinBeckett’sworks,forinstance,HannahCaseCopelandillustratedthisinhisbook:ArtandArtistintheworkofSamuelBeckett.SomeconnectedSamuelBeckett’sworkswithExistentialism.LanceSt.JohnButlerinSamuelandtheMeaningofBeing:AStudyinOntologicalParableaimstotrytolightentheBeckettiangloomwiththosephilosophicallampsthatseemtoworkthebest:Heidegger,Sartre,andHegel.InWaitingforGodotandPhilosophy,LanceSt.JohnButlerarguesthatWaitingforGodotisnotaphilosophicalplaybysayingthatWaitingforGodotistheparableofhumanwaiting.Thethirdperiodiscontemporarytimes.Thestudieshavechangedsomuchfrom1950storecentyearsabroad.Tillnow,Beckett’swork,weretermedthebannerofpost-structuralismpostmodernism,reader-responseandfeminism.Especiallyfrom1980sto2001lotsofessaysappeared,manyofthemfromAmerican,whichusenew-foundlibertyofinterpretation.Forinstance,JamesCalderwood’sessay“WaysofWaitinginWaitingforGodot”firstappearedintheinfluentialjournalModernDrama,itdemonstratesthatdeconstructivecriticismentailsnottheaggressiveandonce-for-allliquidationofthecoherencepossessedbyagiventext,however,anattentivediscussionofwaysinwhichatextcansimultaneouslyestablishandundermineitsowntruth.Amongthem,therearefewconspicuousworksfromthefeminismaspect.SeveralpiecesoffeministapproachtoWaitingforGodotcouldbefoundinWomeninBeckett:PerformanceandCriticalPerspectiveswhichwasedited
byLindaBen-Zui.ThestudiesofWaitingforGodotandSamuelBeckett’sworkhaveaveryshorthistoryinChina.TheatreoftheabsurdaswellasWaitingforGodotwasintroducedtoChinabytranslatorsandcritics.WaitingforGodotwasfirsttranslatedbyShiXianrongin1965.ButitwassimplyusedasanexampletocriticizedecayedlifevalueofwesterncapitalismatthattimebecauseoftheinfluencefromCulturalRevolutioninChina.Soit’sreallyhardtospreadthetheatreoftheabsurdandWaitingforGodotinchinawidelyatthattime.ZhuHongwhowrotethePrefaceofthisbooksaidthatWaitingforGodottriestoexpressthelifeconditionofhumanbeing,thecrisisofspiritandthedecadencyofthebourgeoisie.In1980,ShiXianrongtranslatedTheAnthologyoftheTheatreofAbsurd.Thisbookgivesusanoverallintroductiontotheworksofabsurdist.ZhangHongshengassumedthatWaitingforGodotwasaninterpretationofexistentialisminhispaperOntheTheatreoftheAbsurd.ButChengGewasstronglyagainstthatWaitingforGodotcannotbeinterpretedastheillustrationofexistentialismsimplyandhastily,moreover,therearegreatdisparitiesbetweenabsurdandexistentialdrama.Frommid1980s,thescholarsofchinabegantodrawattentiontothetheatreoftheabsurd.AndtheystartedtocriticizeWaitingforGodotobjectively,however,mostofthestudiesarejusttranslationandtheachievementsoftheforeignstudies,onlyafewofthemareoriginalandinitiative.Anywaysomecreativepapersandbookshaveworkedout.Amongtheseworks,mostofthemarederivedfromsomejournalsandbooks,suchasForeignLiterature,ForeignLiteratureReview,ForeignLiteratureStudyandotherpapers.Andduringthisperiod,thecollectionsoftheTheatreoftheAbsurdwerefirstpublishedbyShanghaiTranslationPublishingHouse.Somethematicandlinguisticinterpretationshadbeenflourishingfrom1994to2004.AndtherearelotsofremarkablepapersandbooksonWaitingforGodot.SuchasOntheArtofBeckett’sAbsurdTheatrebyCaoBo:WaitingforGodot:theDisillusionandReestablishmentofBeliefbyXiaoSixin;TheLinguisticFeaturesinWaitingforGodotbyShuXiaomei;OnWaitinginWaitingforGodotbyWangShanshanandsoon.
ThedevelopmentofChinesedramawasobviouslyinfluencedbythetheatreofabsurdandWaitingforGodotdeeplyandprofoundly.PlaywriterssuchasGaoXingjianwhohasgreataccomplishmentonliteratureandhealsoisatremendousmasterofaforeignlanguagebecameinterestinginthetheatreofabsurdandabsorbfromthiskindofdrama.Theyintroducedthetheatreofabsurdbytranslation,performanceandetc.ButthetheatreoftheabsurdwasnoteasilyspreadinChina.SowearenotsurprisethattheperformanceofWaitingforGodotpresentedbyGaoXingjianin1970scouldn’tcatchpeople’seyes.Andin1983,GaoXingjianwroteTheBusStopwhichwasinspiredbyWaitingforGodot,andthenTheBusStopwasperformedinBeijingPeople’sArtTheaterforseveraltimes.ThestoryraisedheateddiscussionamongtheaudienceandcriticsaftertheperformanceandWaitingforGodotbecamemoreandmorewell-knowninChina.Andin1990s,WaitingforGodot,directedbyMenJinghui,wasofficiallyactedonthestageatlast.Itwasstillnoteasyfortheaudiencestototallyunderstandthemeaningsoftheplayatthattime.HoweverWaitingforGodothadagreatinfluenceonChinesedrama.AnewkindofdramawhichwasnamedasAvant-gardeTheatreappearedinChinaundertheinfluenceofthetheatreoftheabsurdespeciallyWaitingforGodot.AndGaoXingjianbecametherepresentativeofAvant-gardeTheatre.HisidealoftotalTheatreexpandedtheperformancespaceandenrichedthevarietyofChinesedrama.2.2TheUniquenessoftheStudySomeoneonceaskedSamuelBecketttheprecisemeaningofwaitinginWaitingforGodot,heansweredifonlyheknew.Itprovedwhyhisworkarousedsomanycomments.WecanresearchWaitingforGodotfromdifferentangles,aswecanseetheauthorgivesushugespacestoexpressourownunderstandings.Fromtheabove-mentionedliteraturereviewshomeandabroad,thispaperwillfocusonthefollowingtopics:theabsurdityoftheplay;themeaningsofwaitinginWaitingforGodot;therelationshipbetweentheplayandexistentialism;themassagefromtheplaytohumanbeing.Fromdifferentaspects,wecanfindoutthatitistoodifficulttofindthemeaningoflife.Andwefallintothelostofselfpursuitandtheabsurdlife.Ourlivesare
ballons,thoughwehavenoideaswhatwewant,wecan’thelpblowingtheballonsconstantlytilltheballonscan’tstandanymore.Waitingmightbeagleamofhope,butmightbenothingness.Andwhatweshoulddotomakethelifemeaningful?Therefore,considerations,choices,actionsplaytheimportantrolesforselfexistenceandself-fulfillment.Andhumanityandindividualismwouldbetheeternaltopic.AndweshouldsaythattheretoomanystudiesonWaitingforGodot,definitelymostofthemaremeaningful,however,theyareinsufficient.Andthefurtherworkisneededtomakethestudiesmorecomprehensiveandcomplete.HopefullythispaperwouldbeapartofthecomplementofthestudiesonWaitingforGodot.3.TheoreticalFrameworkWhiledoingmyargument,IwillemploysomerelevanttheoriesabouttheTheatreoftheAbsurdandexistentialism.Thispaperfocusesontheanalysisofthemeaningofwaiting,theabsurdityoftheplay,thereflectionofhumanbeings.Andthesestheorieswillhelptomyargument.3.1TheTheatreoftheAbsurdTheTheatreoftheAbsurdcoinedbytheBritishcriticMartinEsslininhis1960essayTheatreoftheAbsurd(French:Théâtredel'Absurde)isadesignationforparticularplayswrittenbyanumberofprimarilyEuropeanplaywrightsinthelate1950s,theirworksexpressedthebeliefthathumanexistencehasnomeaningpurposeandthereforeallcommunicationbreaksdowninirrationalandillogicalways.Theseplaystrytoshowhowmancontrolledbyinvisibleoutsideandforcesreacttoaworldapparentlywithoutmeaning.ThoughTheatreoftheAbsurdisappliedtoawiderageofplays,somecharacteristicscoincideinmanyoftheplays:broadcomedymixedwithhorrificortragicimages;characterscaughtinhopelesssituationsforcedtodorepetitiveormeaninglessactions;dialoguefullofnonsense;plotsthatarecyclicalorabsurdlyexpansive.PlaywrightscommonlyassociatedwiththeTheatreoftheAbsurdincludeSamuelBeckett,EugèneIonesco,JeanGenet,HaroldPinter,TomStoppard,Friedrich
Dürrenmatt,AlejandroJodorowsky,FernandoArrabalandEdwardAlbee.3.2ExistentialismInfluencedbyMartinHeidegger'sBeingandTime,SartrewrotethebookBeingandNothingness:AnEssayonPhenomenologicalOntology(French:L'Êtreetlenéant:Essaid'ontologiephénoménologique)in1943.Itsmainpurposeistoasserttheindividual'sexistenceaspriortotheindividual'sessence.Sartre’soverridingconcerninwritingBeingandNothingnesswastodemonstratethatfreewillexists.Sartre’sprimaryideaisthatpeoplearecondemnedtobefree.Thistheoryreliesuponhispositionthatthereisnocreator.SartresaidthathumanbeingshavenoessencebeforetheirexistencebecausethereisnoCreator.Thus:existenceprecedesessence.Inotherword,accordingtoSartre,humanityisnotgivenbeing,butonlyexistence,andthereisnoGodandnoabsolutestandardsofmoralityoftruth.Inexistentialism,theindividual'sstartingpointischaracterizedbywhathasbeencalled"theexistentialattitude”orasenseofdisorientationandconfusioninthefaceofanapparentlymeaninglessorabsurdworld.Followingarethemainconceptsofexistentialism:3.2.1ExistencePrecedesEssenceExistenceprecedesessenceisthecentralpropositionofexistentialism.Itmeansthatthemostimportantconsiderationfortheindividualisthefactthatheorsheisanindividual—anindependentlyactingandresponsibleconsciousbeing("existence")—ratherthanwhatlabels,roles,stereotypes,definitions,orotherpreconceivedcategoriestheindividualfits("essence").InExistentialismandHumanism,Sartreproclaimedthatexistenceprecededessence.“Manfirstofallexists,encountershimself,surgesupintheworld---anddefinedhimselfafterwards”(May7).Whenanindividualisborn,thereisnoessencecomingbeforehimoffollowinghim.Thereisnoessenceforhimtopursueforandtoshapehimself.Manisnottobecomeacertainkindofpeoplewhichisalreadysettledbeforehecomestotheworld.Theindividualisfreetochoosetobewhatkindofpersonhewants.Therearenosuchlimitationsasthesettledessencetofollow.Theauthenticessenceofindividualliesintheactionswhichheshapeshimself.Theessencedoesnotcomebeforetheexistence.
Itisanessencechangingallthetimeaccordingtotheindividual’swillsandactions.Boththeexistenceandessenceofindividualsaredeterminedbytheindividualsthemselves.Individualsarenotcreatedaswhattheyshouldbe,butareshapedallbythemselves.3.2.2BeingandNothingnessIn1943SartrewroteabookBeingandNothingness:AnEssayonPhenomenologicalOntology.Itsmainpurposeistoasserttheindividual'sexistenceaspriortotheindividual'sessence.Sartre'soverridingconcerninwritingBeingandNothingnesswastodemonstratethatfreewillexists.InBeingandNothingness,manisacreaturehauntedbyavisionof"completion",whichreligionsidentifyasGod.Bornintothematerialrealityofone'sbody,inamaterialuniverse,onefindsoneselfinsertedintobeing.Consciousnesshastheabilitytoconceptualizepossibilities,andtomakethemappear.Sartrecontendsthathumanexistenceisaconundrumwherebyeachofusexists,foraslongaswelive,withinanoverallconditionofnothingnessthatultimatelyallowsforfreeconsciousness.Butsimultaneously,withinourbeing(inthephysicalworld),weareconstrainedtomakecontinuous,consciouschoices.Sartrecontendsourconsciouschoicesruncountertoourintellectualfreedom.Yetweareboundtotheconditionedandphysicalworldinwhichsomeformofactionisalwaysrequired.inaword,thereisnomeaningtobefoundintheworld.Worldisabsurdandmeaningless.Atanypointintimeandspace,anythingcouldhappentoanyonenomatterheorsheisgoodorbad,andanytragicandabsurdeventcouldhappentoanyone.4.WaitingfortheAbsentOther:AnExistentialisticAnalysisofWaitingforGodot4.1TheAbsurdityofWaitingforGodotMuchofBeckett'swork–includingWaitingforGodot–isoftenconsideredbyphilosophicalandliteraryscholarstobepartofthemovementoftheTheatreoftheAbsurd.ThushumanityisdoomedtobefacedwiththeAbsurd.Thiskindofplaysareabsurdinwhichtheydonotfocusonlogicalacts,realisticoccurrences,ortraditional
characterdevelopment,instead,theyfocusonhumanbeingstrappedinanincomprehensibleworld,nomatterhowillogical.AndthefollowingistodiscusstheabsurdityinWaitingforGodot.4.1.1PlotWaitingforGodotisdividedintotwoacts.ActITheplayopenswithEstragonstrugglingtoremoveaboot.Estragoneventuallygivesup,muttering,"Nothingtobedone."HisfriendVladimirtakesupthethoughtandmusesonit.Thepairdiscussesrepentance,particularlyinrelationtothetwothievesandcrucifiedJesus.Estragondozesoff,but,afterrousinghim,Vladimirisnotinterestedinhearingabouthisdream.Estragonsuggeststhattheyhangthemselves,buttheyabandontheideawhenitseemsthattheymightnotbothdie:leavingoneofthemalone.TheirwaitingisinterruptedbythepassingthroughofPozzoandhisheavily-ladenslaveLuckywhohasaropetiedaroundhisneckandhismasterPozzoholdstheotherend.Pozzoordershisslaveandfrequentlycallshima"pig".TheymistakehimatfirstforGodotandclearlydonotrecognizehimfortheself-proclaimedpersonageheis.VladimirtakesPozzototaskregardinghismistreatmentofhisslave,buthisprotestationsareignored.Beforeheleaves,Pozzoasksifhecandoanythingforthepairinexchangeforthecompanytheyhaveprovidedduringhisrest.Estragontriestoaskforsomemoney,butVladimircutshimshort,explainingthattheyarenotbeggars.TheyneverthelessacceptanoffertohaveLuckydanceandtothink.OnceLuckyhasbeenrevived,Pozzohashimpackuphisthingsandtheyleave.Attheendoftheact,aboyarrives,purportingtobeamessengersentfromGodot,toadvisethepairthathewillnotbecomingthateveningbutsurelytomorrow.Aftertheboydeparts,theydecidetoleavebutmakenoattempttodoso,anactionrepeatedinActII,asthecurtainisdrawn.ActII
ActIIopenswithVladimirsingingaboutadog.OnceagainEstragonmaintainshespentthenightinaditchandwasbeaten.Vladimirtriestotalktohimaboutwhatappearstobeaseasonalchangeinthetreeandtheproceedingsofthedaybefore,buthehasonlyavaguerecollection.VladimirtriestogetEstragontorememberPozzoandLucky,butallhecancalltomindarethebonesandgettingkicked.Vladimirrealizesanopportunitytoproducetangibleevidenceofthepreviousday'sevents.WithsomedifficultyhegetsEstragontoshowhimhisleg.Thereisawoundwhichisbeginningtofester.OnlythenVladimirnoticesthatEstragonisnotwearinganyboots.VladimirnoticesLucky'shat,andtriesiton.TheyplayatimitatingPozzoandLucky,butEstragoncanbarelyrememberhavingmetthemandsimplydoeswhatVladimirasks.Theyfireinsultsateachotherandthenmakeup.Afterthat,theyattemptsomephysicalroutineswhichdonotworkoutwell.PozzoandLuckyarrivewithPozzonowblindandinsistingthatLuckyisdumb.Theropeismuchshorter,andLucky–whohasacquiredanewhat–leadsPozzo,ratherthanbeingdrivenbyhim.Pozzohaslostallnotionoftime,andassuresthemhecannotremembermeetingthemthedaybefore,anddoesnotexpecttorememberthecurrentday'seventswhentheyareover.LuckyandPozzodepart.ThesameboyreturnstoinformthemnottoexpectGodottoday,butpromiseshewillarrivethenextday.Thetwoagainconsidersuicidebuttheirrope,Estragon'sbelt,breaksintwowhentheytugonit.Estragon'strousersfalldown,buthedoesnotnoticeuntilVladimirtellshimtopullthemup.Theyresolvetobringamoresuitablepieceandhangthemselvesthenextday,ifGodotfailstoarrive.Again,theyagreetoleavebutneitherofthemmakesanymovetogo.4..1.2CharactersVladimirandEstragonWhenBeckettstartedwritinghedidnothaveavisualimageofVladimirandEstragon.Theyareneverreferredtoastrampsinthetext.Therearenophysicaldescriptionsofeitherofthetwocharacters.Throughouttheplaythecouplerefersto
eachotherbypetnames,"Didi"and"Gogo".PozzoandLuckyAlthoughBeckettrefusedtobedrawnonthebackgroundsofthecharacters,thishasnotstoppedactorslookingfortheirownmotivation.WhenBeckettwasaskedwhyLuckywassonamed,herepliedthathesupposedheisluckytohavenomoreexpectations.LittleislearnedaboutPozzobesidesthefactthatheisonhiswaytothefairtosellhisslave,Lucky.Pozzoisacharacterwhohastoovercompensate.That'swhyheoverdoesthings.PozzocontrolsLuckybymeansofanextremelylongropewhichhejerksandtugsifLuckyistheleastbitslowly.LuckyistheabsolutelysubservientslaveofPozzoandheunquestioninglydoeshiseverybiddingwithdog-likedevotion.TheBoyThecastlistspecifiesonlyoneboy.TheboyinActI,alocallad,assuresVladimirthatthisisthefirsttimehehasseenhim.Hesayshewasnottherethepreviousday.HeconfirmsheworksforMr.Godotasagoatherd.Hisbrother,whomGodotbeats,isashepherd.Godotfeedsbothofthemandallowsthemtosleepinhishayloft.TheboyinActIIalsoassuresVladimirthatitwasnothewhocalleduponthemthedaybefore.Heinsiststhatthistooishisfirstvisit.WhenVladimiraskswhatGodotdoestheboytellshimthathedoesnothing.Wealsolearnhehasawhitebeard–possibly,theboyisnotcertain.ThisboyalsohasabrotherwhoitseemsissickbutthereisnoclearevidencetosuggestthathisbrotheristheboythatcameinActIortheonewhocamethedaybeforethat.GodotTheidentityofGodothasbeenthesubjectofmuchdebate.WhenRogerBlinaskedhimwhoorwhatGodotstoodfor,BeckettrepliedthatitsuggesteditselftohimbytheslangwordforbootinFrench,godillot,godassebecausefeetplaysuchaprominentroleintheplay.Thisistheexplanationhehasgivenmostoften.4.1.3TheIllogicalandMeaninglessDialogue
Blackhumormightbeconnectedwiththesedialogues.Thetwoleadingrolesaretotallytalkingnonsense.Theirwordsaremeaninglessandillogical:……Estragon:（givingupagain）Nothingtobedone.Vladimir:……SothereyouareagainEstragon:AmI?……Vladimir:Andtheydidn’tbeatyou?Estragon:Beatme?Certainlytheybeatme.Vladimir:Thesamelotasusual?Estragon:Thesame?Idon’tknow.……Thesetwofriendsarenotcertainabouttheirpastandtheirdailylife.Andtheyalsohavenoideawhattheyaredoingandtheyalsoknownothingabouttheonetheyarewaiting:……Estragon:……Let’sgo.Vladimir:Wecan’t.Estragon:Whynot?Vladimir:We’rewaitingforGodot.……Estragon:Don’tlet’sdoanything.It’ssafer.Vladimir:Let’swaitandseewhathesays.Estragon:who?Vladimir:Godot.Estragon:goodidea.……Vladimir:I’mcurioustohearwhathehastooffer.Thenwe’lltakeitorleaveit.Estragon:Whatexactlydidweaskfor？Vladimir:Wereyounotthere?
Estragon:Ican’thavebeenlistening.Vladimir:Oh……Nothingverydefinite.……Pozzo:（peremptory）.WhoisGodot?Estragon:Godot?……Pozzo:Whoishe?Vladimir:Ohhe’sa…he’sakindofacquaintance.Estragon:Nothingofthekind,wehardlyknowhim.Vladimir:True…wedon’tknowhimverywell…butallthesame…Estragon:personally,Iwouldn’tevenknowhimifIsawhim.4.1.4CirculationAsmentionedabove,ActIandActIIarealmostthesame.Andfewchangescanbefoundintheplay:InActItheplaystartsandendslikefollowing:Acountryroad.Atree.Evening.……Vladimir:Well?Shallwego?Estragon:Yes,let’sgo.Theydonotmove.InActIItheplaystartsandendslikefollowing:Nextday.Sametime.Sameplace.……Vladimir:Well?Shallwego?Estragon:Yes,let’sgo.Theydonotmove.Itgivesusaninformationthatwehavenoideawhenwouldtheplayend.Andwealsocanimaginehowthepoortwofriends’liveswillbe.
Andmoredetailscanbefoundintheplay:Estragon,sittingonalowmound,istryingtotakeoffhisboot.Hepullsatitwithbothhands,panting.Hegivesup……Estragon:(givingupagain).Nothingtobedone.……Estragon:Ahstopblatheringandhelpmeoffwiththisbloodything.Vladimir:……(Estragontearsathisboot.)Whatareyoudoing?Estragon:Takingoffmyboot.Didthatneverhappentoyou?AndVladimirtakesoffhishatandpeersinsideitagainandagain.Onerepeatstakingoffthebootandanotherrepeattakingoffthehat.4.1.5NoCertainSpace-timeEnvironmentandCompletePlotStructureInanytraditionalplay,certainspace-timeenvironmentcanbefound,andtheplotstructureiscomplete.ButwecanhardlyfinddefinitetimeandspaceinWaitingforGodot,andthroughouttheplay,thestorydoesnothaveaperfectending.Thiskindofwritingmakestheplaydifferentfromthetraditionalplay,sothiskindofplayiscalledAnti-Theatre.4.2WaitingfortheAbsentOtherManycriticholdthatthethemeofWaitingforGodotishopelesswaitingandexposingembarrassedandabsurdsituationofhumanbeing,ordiscussingtheabsurdityandnothingnessoflife.AbsolutelythiskindofdeciphermentcatchesBeckett’sthoughtaboutwesternpeople’slivingconditions:Thetraditionalvalueconceptcollapsed,people’sfaithislost.Intheplay,thetwoleadingroleshavenothingtodobutwaiting.Itseemsthatwaitingistheonlyhope,butGodotnevershowup.Theyevencan’trecognizehimthoughtheymeetGodot.Fromstemtostern,Godotisabsent.ButwhytheabsentoneisGodot?Thoughthegodisdead,whytheplaystillhasmentionedGodmanytimes?Thoughwaitingishopeless,thetwoleadingroles’headstrongwaitingmightbeanotherkindofhopeandfaithfromthedespaircondition.Andwhatweshouldbelievefromtheplay?LotsofpeopleonlytouchthereallysadwayofWaitingforGodot,andtheyignorethetruevalueoftheplay:butifallconditionsaredespair,westillholdupforwhatwebelieve.And
differentviewsonthemeaningofGodot—TheAbsentOtheraredividedintoseveralkinds.FollowingareseveralmeaningsofTheAbsentOther:4.2.1TheAbsentOtherIsNothingnessThetwoleadingrolesVladimirandEstragonsaythousandsoftinesthattheyhavenothingtodointheplay.WhattheycanonlydoiswaitingforsomeonecalledGodot.TheludicrousthingwhichmakestheirlifeduplicateandmeaninglessisthatGodotnevershowup.Theydon’tknowwhenandwhereGodotwillcome.WhoisGodot?WhatdoesGodotlooklike?WhytheyarewaitingforGodot?WhatdotheywantfromGodot?Allthesethingsmakethesetwofriendsconfusedandunanswered.Atthesametime,thiskindofconditionhaslastforalongtimeintheirlifeanditwillfollowon.Andwhenisthevanishingpoint?Theycan’tanswerandwecan’tunderstand.Sowhattheyarewaitingforisnothingness.Theabsentotherisakindoflossofhope.Waitingmakestheirlivesmeaninglessandabsurd.Theyarewaitingforsomeonewhoisabsent.TheyonlywanttolookforcomfortfromtheAbsentOther.4.2.2TheAbsentOtherIs“Saviour”Asmentionedabove,manyseeGodandGodotasoneandthesame.Inthetwofiends’dialoguewealsofindthattheytalkabout“Saviour”,rights,hellanddeath.Theyfallintodeepdesperation.Theylosetheirhopeoflife.Theyneedhelpfromsomeoneelse.Andthehelpfromrealitycan’tsatisfytheirneeds.Sotheylookfortheabsentother——Godot.ButGodotnevercome.Thentheytalkabout“Saviour”,rights,hellanddeathagain.Theyseemconsciousoftheconfessionthroughtheendlesswaiting.TheAbsentOtheristhegleamofhopeandself-atonement.GodorGodotmaycomeiftheyhaveconfessedallthe“crime”theyhavemadecompletely.4.2.3TheAbsentOtherIsBeliefThoughlifeandworldareruthlessandabsurd,onecaninsistonone’sbelief.Theirwaitingmayhavenoends,buttheynevergiveuptheirwaiting.Inaway,theyaretotallystubbornandignorant.Buttheirwaitingtouchesmanypeople.Theywanttofindagleamofhopefromthehopelesscondition.Thoughtheyhavetofacetoomanyunbelievabledifficulties,theyhavethecouragetowaitallalong.Andfewpeoplecaninsistontheirdreamandbelief,buttheycandoit.SotheAbsentOtheris
belief.4.3AnExistentialisticAnalysisofWaitingforGodotBroadlyspeaking,existentialistsbelievethattherearecertainfundamentalquestionsthateveryhumanbeingmustcometofacewithiftheyaretotaketheirsubjectiveexistencesseriouslytomakeinternalvaluemeaningful.Thetheoriesofexistentialismassertthatconsciousrealityisverycomplexandwithoutan"objective"oruniversallyknownvalue:theindividualmustcreatevaluebyaffirmingitandlivingit,notbysimplytalkingaboutitinthemind.Themessuchasdeath,themeaningofhumanexistenceandtheplaceofGodarediscussinginexistentialism.Theplaymaybeseentotouchonalloftheseissues.4.3.1DeathAswecanseeintheplay,thetwoleadingrolesaretooboringtohavenotingtodo.Theyhavedoneanythingtospendtime,theyevenwanttohangthemselves,buttheycan’tfindaropeandastrongstandtokillthemselves,andtheyalsohavenocouragetodoso:Estragon:let’shangourselvesimmediately!Vladimir:fromabough?(theygotowardsthetree.)Iwouldn’ttrustit.Estragon:WecanalwaystryVladimir:GoaheadEstragon:Afteryou.Vladimir:Nono,youfirst.Estragon:Whyme?Vladimir:You’relighterthanIamEstragon:JustsoVladimir:Idon’tunderstand……Itseemsthatdeathistheonlyhope,buttheyhavecan’ttouchthefellingofdeath.Theyaretotallydespairingandlost.4.3.2TheMeaningofHumanExistenceAllhumanbeingsarepuzzledbythemeaningofhumanexistence.Theplayalso
touchesthisfield.Asmentionedabove，thisplaywasbornafterWorldWarII,peopleweresufferedalotfromthewar,andtheyfeltintothespiritcrisis.Peoplewerewonderingwhytheystillliveinthemeaninglessworld?Whatwecandotomakethisworldbetter?Andwhatwearepursuing?Whocansaveus?Doesgodexistornot?Peoplehavelotsofunansweredquestions.Andtheplayisthereflectionofhumanconditions.4.3.3ThePlaceofGodAndtheplayalsotouchestheChristianfield.Doesgodexist?ManyseeGodandGodotasoneandthesame.It’seasytoseethesolitarytreeasrepresentativeoftheChristiancross,orthetreeoflife:“Acountryroad.Atree.Evening……Thetreehasfourorfiveleaves.”Andmuchcanbefoundoutfromthestoryofthetwothieves.Vladimir:Ahyes,thetwothieves.Doyourememberthestory?Estragon:No.Vladimir:ShallItellittoyou?Estragon:No.Vladimir:It’llpassthetime.(pause.)Twothieves,crucifiedatthesametimeasourSaviour,one-Ourwhat?……Estragon:Who?Vladimir:What?Estragon:What’sallthisabout？Abusedwho?Vladimir:TheSaviour.Estragon:Why?Vladimir:Becausehewouldn’tsavethem.Estragon:Fromhell?
……Eventhoughnounambiguousevidencecouldshowwhetherthe“Saviour”mentionedintheplayis“God”ornot,obviously,the“Saviour”hasrelationshipwith“Godot”.AnditshowsthathumanbeingtrappedintheroadofsalvationandthethirstofGod’shelp.5.ConclusionThroughtheanalysisfromdifferentconcepts,wemaydrawtheconclusionthatvisionsexpressedinWaitingforGodotandthoseinexistentialism.WaitingforGodotexpressedtheuntouchableemotionalexperience,extremelyhopelesslivingcondition,andabsurdlifeinwesternworld.WaitingforGodotreflectshesitationsandconfusionsofmodernwesternpeople.Inmyargument,thisthesishastriedouseExistentialismtoanalyzeWaitingforGodot.TheplayshowsusanAbsurdworldthroughtheabsurdplot,characters,theillogicalandmeaninglessdialogue,uncertainspace-timeenvironmentandimperfectplotstructure.Wenoticethatpeopleareextremelystruggledintheludicrouslife.Thetalkaboutdeath,hope,rightsoranythingothercouldmakeaplacefortheirnonsense.Andfinallytheystillinvolveinthehopelesscondition.Theycanhardlyfindoutthemeaningoflife.TheyonlycanseekforhelpfromtheAbsentOther.HowevertheAbsentOtherstillgetseveralmeaning.TheabsentOtherisnothingness,Savior,orbelief?Whatweshouldbelieveisthatthoughlifeandworldareruthlessandabsurd,onecaninsistonone’sbelief.Theirwaitingmayhavenoends,buttheynevergiveuptheirwaiting.Inaway,theyaretotallystubbornandignorant.Buttheirwaitingtouchesmanypeople.Theywanttofindagleamofhopefromthehopelesscondition.Thoughtheyhavetofacetoomanyunbelievabledifficulties,theyhavethecouragetowaitallalong.Andfewpeoplecaninsistontheirdreamandbelief,buttheycandoit.Wemustbepositiveifwewanttolivehappily.References
Beckett,Samuel.WaitingforGodot:ATragicomedyinTwoActs.LondonandBoston:FaberandFaber,1956.Esslin,Martin.TheTheatreoftheAbsurd.NewYork:Doubleday&Co,1961.JiaXifeng.AnInterpretationofWaitingforGodot:TheTheatreoftheAbsurd—ReflectionontheExistentialConditionofHumanBeing,2005.JinYing.TheSameWaiting,DifferentResults——ComparativeStudyofSamuelBeckett’sWaitingforGodotandGaoXingjian’sBusStop,2008.R.Flynn,Thomas.Existentialism:AVeryShortIntroduction.NewYork:OxfordUniversityPress,2006.Sartre,Jean-Paul.BeingandNothingness:AnEssayonPhenomenologyandExistentialism.BlackwellPublishingLtd,2006.Sartre,Jean-Paul.ExistentialismandHumanism.London:MethuenandCo.Ltd,1984.Webber,Jonathan.TheExistentialismofJean-PaulSartre.NewYork,NY:Routledge,2009.ZhangJingjing.OntheAbsurdStyleof“WaitingforGodot”ReadandWritePeriodicalVol.7No.5May2010.王珊珊.《等待戈多》的“等待”[J].外国文学研究，2005年第4期，第88-92页肖四新.信仰的破灭与重建：论《等待戈多》的潜在主题，当代外国文学[M]2001,1,p.p.127-131萨缪尔·贝克特.等待戈多[M]施咸荣译.人民文学出版社.2002-1.内部资料，请勿外传！9JWKffwvG#tYM*Jg&6a*CZ7H$dq8KqqfHVZFedswSyXTy#&QA9wkxFyeQ^!djs#XuyUP2kNXpRWXmA&UE9aQ@Gn8xp$R#͑Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5ux^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmUE9aQ@Gn8xp$R#͑Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5ux^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z8vG#tYM*Jg&6a*CZ7H$dq8KqqfHVZFedswSyXTy#&QA9wkxFyeQ^!djs#XuyUP2kNXpRWXmA&UE9aQ@Gn8xp$R#͑Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^G89AmUE9aQ@Gn8xp$R#͑Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5ux^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z8vG#tYM*Jg&6a*CZ7H$dq8KqqfHVZFedswSyXTy#&QA9wkxFyeQ^!djs#XuyUP2kNXpRWXmA&UE9aQ@Gn8xp$R#͑Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5ux^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmUE9aQ@Gn8xp$R#͑Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5ux^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNuGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5ux^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$U*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89Amv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5ux^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$U*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz84!z89Amv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5ux^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tnGK8!z89AmYWpazadNu##KN&MuWFA5uxY7JnD6YWRrWwc^vR9CpbK!zn%Mz849Gx^Gjqv^$UE9wEwZ#Qc@UE%&qYp@Eh5pDx2zVkum&gTXRm6X4NGpP$vSTT#&ksv*3tn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