Turning Text Into Performance By Mark Thomson 's Waiting For Godot

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Turning text into performance is an art form in itself: taking words and simple stage direction and spinning them into a worthwhile performance must take into consideration the story structure, location and space. Although each of these elements is important, this essay will illustrate how some may be more significant than others and why.
Story structure plays an important role in the performing of texts because it sets the pace and keeps the storyline moving on-stage. A part of what makes a story structure is how the narrative is set up and executed, by looking at media theorists who have considered the conventional narrative structure in texts we consume we can see how they may impede and contribute to the outcome of staging a play. Mark Thomson’s rendition [] of Samuel Becket’s Waiting for Godot [], for example, can be observed to adhere to Todorov’s theory of Equilibrium []; when looking at the original text, the plot can be considered both parallel and cyclical in structure []. In this sense Todorov’s theory can be applied twofold, as it were, because the same series of events happens twice; both acts begin with the equilibrium of Vladimir and Estragon waiting for Godot, this is then disrupted by the entrance of Lucky and Pozzo and subsequently by the messenger boy’s arrival and departure, at this point and at the end of each act the two characters find themselves alone and in a new state of equilibrium. It is perhaps because of this repetition and almost meaningless
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