Waiting for Godot at Tramway
Kyriaki Forti
Using Samuel Beckett’s theatre play «Waiting for Godot», I have tried to frame how I interpret the idea of a contemporary theatre experience and highlight the importance of continually expanding the limits of theatre typology. Exploring the relationship between audience and stage and the concept of doing the most with the least on set design process, this project seeks to challenge the conventional meanings assigned to objects within the play.
The narrative revolves around Estragon and Vladimir, two absurd and enigmatic figures existing in an indeterminate space. This story draws us in, resonating as both universal and unique to no one in particular. The undercurrent of ritualistic actions, often unfolding without the characters’ conscious awareness, adds to the play’s profound essence. In this project, my intent is to zoom in on these repeating movements altering their framework in order to give an alternative context to the entire narrative.
Theatre urges us to imagine based on a story that someone narrates to us. What we hear and what we see don’t necessarily have to align. Actors utilise their bodies and voices as tools of narration, capable of verbally communicating one message while physically expressing something different. And this could be seen as a method of creating Myths. My goal is to make the audience understand this process of deconstruction through the unfolding acts and ultimately enable them to actively engage in this experience.
The objective was to highlight the transition from an established and structured meaning to a new one through a performance route event that actively involves the audience. The idea was that the audience, guided through three different spaces, each infused with alternative meanings of object-space-performer relationships, would experience a transformation from the traditional audience-stage dynamic to immersive and abstract installations.
The place I have chosen to host my theatre performance is the ground floor exhibition space of the Tramway contemporary art venue in the Southside of Glasgow. Despite Tramway offering a dedicated theatre space, I have opted for this open-plan exhibition room. Due to the play’s strong sense on the notion of waiting, I was particularly drawn to the idea of utilising this specific room which has a historical connection as a former tramway station, carrying with it a profound sense of waiting. Preserved spatial elements within the room such as the railings and the metal structure of the original ceiling, evoke the essence of the past creating an already-made narration.
After the end of the play, the audience will not be directed towards the exit as expected. Instead, they will be subtly diverted to a path leading back to the stage, without their knowledge or awareness. Upon entering from two different doors within the setting, the audience will be guided along the paths they had previously performed by the characters. Overhead spotlights will outline the pathway, while laser lights will highlight the boundaries created by the characters’ rituals. Vladimir, Estragon, Pozzo, and Lucky can serve as reflections of any one of us. Their experiences can easily relate to our own lives.
