0:00:07.064,0:00:09.094
Uvadasi chiqqan kiyimdagi[br]Estragon ismli

0:00:09.094,0:00:12.924
odam g'ira-shirada daraxt yonida o'tirib, [br]etiklarini yechishga urinardi.

0:00:12.924,0:00:14.804
Tez orada do'sti Vladimir uning

0:00:14.804,0:00:17.104
oldiga kelib, o'zi bilan o'zi [br]ovora og'aynisiga

0:00:17.104,0:00:20.564
Godo ismli allakimni [br]kutishlari kerakligini eslatadi.

0:00:20.564,0:00:23.964
Shundan so'ng zerikarli voqealar [br]ketma-ketligi boshlanib, qahramonlar

0:00:23.964,0:00:26.484
Godo qachon keladi,[br]nega uni kutyapmiz, aslida to'g'ri

0:00:26.484,0:00:29.794
daraxt ostida kutyapmizmikin[br]degan savollar atrofida tortishadilar.

0:00:29.794,0:00:32.994
Zamonaviy dramaturgiya qiyofasini [br]o'zgartirib yuborgan

0:00:32.994,0:00:35.504
asar hisoblanuvchi «Godoni kutish» syujeti

0:00:35.504,0:00:37.634
shundan boshlab tobora g'alati tus oladi.

0:00:37.634,0:00:41.963
1949-1955-yillar oralig'ida [br]Samuel Bekket tomonidan yozilgan asar

0:00:41.963,0:00:45.623
oddiy, ammo hayotiy dolzarb savolni [br]o'rtaga tashlaydi:

0:00:45.623,0:00:49.873
qahramonlar nima qilishlari kerak?

0:00:49.873,0:00:52.963
Estragon: Hech nima qilmay tura qolaylik. [br]Shunisi xavfsizroq.

0:00:52.963,0:00:56.663
Vladimir: Kel, kutib turamiz. [br]Ko'raylikchi, nima derkin.

0:00:56.663,0:00:57.993
Estragon: Kim?

0:00:57.993,0:00:59.663
Vladimir: Godo.

0:00:59.663,0:01:01.693
Estragon: Yaxshi fikr.

0:01:01.693,0:01:04.223
Bunday chunarsiz dialoglar [br]va takroriy muhokamalar

0:01:04.223,0:01:07.163
Ikkinchi Jahon Urushidan keyin [br]yuzaga kelgan

0:01:07.163,0:01:10.413
va tartibsizlik ichra [br]hayotiy maslagini topishni

0:01:10.413,0:01:12.263
o'zining adabiy maqsadiga aylantirgan

0:01:12.263,0:01:15.183
absurd teatrining [br]asosiy xususiyatlari hisoblanadi.

0:01:15.183,0:01:19.343
Absurd teatri vakillari syujet, obrazlar [br]va tilni bir-biridan ayiradilar,

0:01:19.343,0:01:21.853
bu bilan har birining [br]alohida ma'nosini topmoqchi

0:01:21.853,0:01:25.633
va sahnada ulardagi bor noaniqlikni [br]namoyish etmoqchi bo'ladilar.

0:01:25.633,0:01:27.613
Bu qayg'uli eshitilishi mumkin,

0:01:27.613,0:01:30.793
ammo absurd dramada [br]chorasizlik kulgi ostiga olinadi.

0:01:30.793,0:01:33.373
Aynan mana shu janr Bekket "ikki aktdan

0:01:33.373,0:01:35.493
iborat tragikomediya" deb tasniflagan

0:01:35.493,0:01:39.633
«Godoni kutish» asarida o'z aksini topgan.

0:01:39.633,0:01:42.083
Fojia shundaki, qahramonlar [br]ekzistensializmning

0:01:42.083,0:01:45.203
boshi berk ko'chasiga [br]kirib qoladilar: ular yashashdan

0:01:45.203,0:01:47.963
maqsadni ko'rsatishi kerak[br]bo'lgan noma'lum shaxsni behuda

0:01:47.963,0:01:49.863
kutadilar, ammo kutish jarayonining

0:01:49.863,0:01:52.583
o'zi ular hayotining yagona [br]mohiyatiga aylanadi.

0:01:52.583,0:01:55.263
Xaloskorlarini uzoq kutar ekanlar,[br]qahramonlar g'ussaga

0:01:55.263,0:02:00.253
beriladilar, diniy qo'rquvga tushadilar va[br]o'z jonlariga qasd qilish haqida

0:02:00.253,0:02:03.683
o'ylaydilar. Shunga qaramay, drama [br]o'ziga xos yumorga ega, obrazlarning

0:02:03.683,0:02:06.513
kulgili holati ularning nutqi[br]va xatti-harakatlarida

0:02:06.513,0:02:09.733
aks etadi. Dialoglar antiqa [br]so'z o'yinlari, qaytariqlar

0:02:09.733,0:02:11.613
va qochirimlarga to'la, harakatlanish

0:02:11.613,0:02:14.723
chog'ida esa ular masxarabozlik qiladi,[br]qo'shiq aytib,

0:02:14.725,0:02:17.325
raqsga tushadi va [br]hovliqib shlyapalarini almashadi.

0:02:17.325,0:02:19.955
Bunday vaziyatda tomoshabinlar kulishni[br]ham, yig'lashni

0:02:19.955,0:02:22.835
ham bilmay qoladi.[br]Bekket bu ikki hissiyot o'rtasida

0:02:22.835,0:02:25.855
biron bir farqni ko'rganmikin [br]deb o'ylab qolasiz.

0:02:25.855,0:02:27.915
Bekket Dublinda tug'ilib o'sdi,

0:02:27.915,0:02:30.895
ingliz, fransuz va italyan [br]tillarini o'rgandi. Parijga ko'chib

0:02:30.895,0:02:33.605
kelib, umrining katta qismini [br]shu yerda o'tkazdi, o'zini

0:02:33.605,0:02:35.705
dramaturgiya, nazm [br]va nasrga bag'ishladi.

0:02:35.705,0:02:38.575
Tilga bo'lgan kuchli muhabbatiga qaramay,

0:02:38.575,0:02:42.575
Bekket ijodiga tanaffus kiritib,

0:02:42.575,0:02:46.575
sukunatda vaqt o'tkazish uchun [br]doim joy topa olgan.

0:02:46.575,0:02:50.265
Absurd teatri tufayli mashhur bo'lgan

0:02:50.265,0:02:53.155
notekis bayon qilish usuli [br]hamda qora yumor

0:02:53.155,0:02:56.405
ijodidagi o'ziga xoslik hisoblanadi.

0:02:56.405,0:02:58.885
U, shuningdek, [br]sirli shaxs obrazini yaratdi

0:02:58.885,0:03:02.235
va o'z asarlari ma'nosi haqidagi [br]har qanday taxminlarga

0:03:02.235,0:03:04.585
munosabat bildirishdan bosh tortdi.

0:03:04.585,0:03:06.175
Bu esa tomoshabinlarni ko'proq

0:03:06.175,0:03:09.395
o'ylanishga undadi, [br]yozuvchining xayoliy olami

0:03:09.395,0:03:12.427
va sirli personajlariga bo'lgan [br]qiziqishlarini yanada oshirdi.

0:03:12.427,0:03:15.287
Hech qanday aniq ma'noning[br]yo'qligi dramaning

0:03:15.287,0:03:17.547
cheksiz talqinlarini [br]yaratishga imkon berdi.

0:03:17.547,0:03:20.767
Tanqidchilar asarni turlicha [br]tahlil qilishdi,

0:03:20.767,0:03:24.387
natijada kosa ostidagi nimkosa [br]nima ekani haqida

0:03:24.387,0:03:27.627
noaniqliklar va taxminlar paydo bo'ldi.

0:03:27.627,0:03:30.727
Uni Sovuq Urush, fashistlarga qarshi [br]Fransiya qarshilik harakati

0:03:30.727,0:03:33.217
va Britaniya Irlandiyani mustamlakaga [br]aylantirishi

0:03:33.217,0:03:36.227
masalalariga kinoya sifatida [br]qabul qilishdi.

0:03:36.227,0:03:38.317
Ikki qahramonning o'zaro ta'siri ham

0:03:38.317,0:03:40.467
qizg'in bahslarga sabab bo'ldi.

0:03:40.467,0:03:43.307
Ularni oxir zamondan omon qolganlar, [br]qariyotgan

0:03:43.307,0:03:45.817
sheriklar, ikki irodasiz do'stlar va hatto

0:03:45.817,0:03:51.537
Freyd aytgan psixikaning «Men» va «U» [br]shakllari timsoli sifatida qabul qilishdi.

0:03:51.537,0:03:53.707
Bekketning o'zi esa [br]Vladimir va Estragonning

0:03:53.707,0:03:56.707
"yarimdumaloq qattiq shlyapa kiyganiga"

0:03:56.707,0:03:59.667
ishonchi komilligini aytgan xolos.

0:03:59.667,0:04:02.567
Tanqidchilar fikri va [br]asabbuzar sujetga ko'ra,

0:04:02.567,0:04:05.227
obrazlar nutqi ko'pincha [br]bir nuqtada aylanaveradi.

0:04:05.235,0:04:08.405
Ular o'zaro tortishadi, [br]bir-birini masxaralaydi,

0:04:08.405,0:04:11.285
kalavaning uchini yo'qotib, [br]boshlagan gaplariga qaytadilar:

0:04:11.285,0:04:14.335
Vladimir: Barchasini boshidan [br]boshlashimiz kerak ko'rinadi.

0:04:14.335,0:04:16.475
Estragon: Qiyin bo'lmasa kerak.

0:04:16.475,0:04:19.395
Vladimir: Nimadan boshlashni [br]bilmasang, qiyin.

0:04:19.395,0:04:21.815
Estragon: Istagan narsangdan [br]boshlashing mumkin.

0:04:21.815,0:04:24.285
Vladimir: Ha, ammo sen [br]qaror qilishing kerak.

0:04:24.285,0:04:28.175
Bekket sahnadagi dunyo [br]kundalik hayotimiz singari

0:04:28.175,0:04:31.245
hamisha ham ma'no kasb [br]etavermasligini eslatmoqchi bo'ladi.

0:04:31.245,0:04:34.925
U haqiqat va xayolotni ham, [br]tanish va notanishni ham

0:04:34.925,0:04:37.025
o'zida mujassam etishi mumkin.

0:04:37.025,0:04:40.555
Mantiqiy bayon [br]mushohada uchun yoqimli bo'lsa-da,

0:04:40.555,0:04:45.575
yaxshi drama bizni o'ylashga… [br]va kutishga undaydi.