Abstract
The long tradition of canonical interpretations of Samuel Beckett’s plays puts in front two exceptional productions of Waiting for Godot, individual in their character. Both of them seem to realize the directors’ ideas about French culture and highlight its specifi c aspects. They are anchored in the history of France and respond to a recent interest in studying Beckett’s Irishness and its infl uence on his writing as well as are indebted to literary-historical, manuscript or archive-based studies. At the same time, they also exemplify how directors modify texts in order to present their interpretations of history.
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