Wladimir and Estragon wait in vain - clinging to each other and yet fundamentally alone. They are trapped in empty space; between beginning and end, unable to turn to one or the other. In their clownish way, the protagonists pass the time. Everything happens in anticipation of the ominous Godot, who is their salvation from the unpleasant state of waiting. The endless repetitions that make up their lives blur the traces of their memories to the point where everything begins to falter and nothing appears to them as assured knowledge. - The horrors of the Second World War were omnipresent when Samuel Beckett wrote his absurdist play in 1948, in which he raised the existentialist question of the meaning of existence. Robert Borgmann stages Beckett's work as a search for traces of the Godot of our days, which are determined by uncertainties and the sensational news of the 24-hour news cycle.
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