Abstract
The most common criticism of Beckett's theatre is its supposed obscu rity. Early defenders of Godot and Endgame were themselves criti cised as formalists for their inability to say what these plays were 'about' or 'meant'. Adorno's theory of the modernist artwork ex plained the historical development of art's opaque content and Beck ett's own reluctance to explain his plays, solving an impasse in Beck ett criticism with his account of the new historical role of aesthetic form as critique.
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