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Uvadasi chiqqan kiyimdagi
Estragon ismli

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odam g'ira-shirada daraxt yonida o'tirib, 
etiklarini yechishga urinardi.

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Tez orada do'sti Vladimir uning

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oldiga kelib, o'zi bilan o'zi 
ovora og'aynisiga

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Godo ismli allakimni 
kutishlari kerakligini eslatadi.

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Shundan so'ng zerikarli voqealar 
ketma-ketligi boshlanib, qahramonlar

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Godo qachon keladi,
nega uni kutyapmiz, aslida to'g'ri

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daraxt ostida kutyapmizmikin
degan savollar atrofida tortishadilar.

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Zamonaviy dramaturgiya qiyofasini 
o'zgartirib yuborgan

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asar hisoblanuvchi «Godoni kutish» syujeti

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shundan boshlab tobora g'alati tus oladi.

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1949-1955-yillar oralig'ida 
Samuel Bekket tomonidan yozilgan asar

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oddiy, ammo hayotiy dolzarb savolni 
o'rtaga tashlaydi:

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qahramonlar nima qilishlari kerak?

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Estragon: Hech nima qilmay tura qolaylik. 
Shunisi xavfsizroq.

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Vladimir: Kel, kutib turamiz. 
Ko'raylikchi, nima derkin.

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Estragon: Kim?

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Vladimir: Godo.

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Estragon: Yaxshi fikr.

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Bunday chunarsiz dialoglar 
va takroriy muhokamalar

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Ikkinchi Jahon Urushidan keyin 
yuzaga kelgan

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va tartibsizlik ichra 
hayotiy maslagini topishni

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o'zining adabiy maqsadiga aylantirgan

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absurd teatrining 
asosiy xususiyatlari hisoblanadi.

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Absurd teatri vakillari syujet, obrazlar 
va tilni bir-biridan ayiradilar,

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bu bilan har birining 
alohida ma'nosini topmoqchi

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va sahnada ulardagi bor noaniqlikni 
namoyish etmoqchi bo'ladilar.

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Bu qayg'uli eshitilishi mumkin,

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ammo absurd dramada 
chorasizlik kulgi ostiga olinadi.

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Aynan mana shu janr Bekket "ikki aktdan

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iborat tragikomediya" deb tasniflagan

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«Godoni kutish» asarida o'z aksini topgan.

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Fojia shundaki, qahramonlar 
ekzistensializmning

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boshi berk ko'chasiga 
kirib qoladilar: ular yashashdan

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maqsadni ko'rsatishi kerak
bo'lgan noma'lum shaxsni behuda

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kutadilar, ammo kutish jarayonining

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o'zi ular hayotining yagona 
mohiyatiga aylanadi.

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Xaloskorlarini uzoq kutar ekanlar,
qahramonlar g'ussaga

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beriladilar, diniy qo'rquvga tushadilar va
o'z jonlariga qasd qilish haqida

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o'ylaydilar. Shunga qaramay, drama 
o'ziga xos yumorga ega, obrazlarning

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kulgili holati ularning nutqi
va xatti-harakatlarida

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aks etadi. Dialoglar antiqa 
so'z o'yinlari, qaytariqlar

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va qochirimlarga to'la, harakatlanish

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chog'ida esa ular masxarabozlik qiladi,
qo'shiq aytib,

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raqsga tushadi va 
hovliqib shlyapalarini almashadi.

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Bunday vaziyatda tomoshabinlar kulishni
ham, yig'lashni

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ham bilmay qoladi.
Bekket bu ikki hissiyot o'rtasida

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biron bir farqni ko'rganmikin 
deb o'ylab qolasiz.

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Bekket Dublinda tug'ilib o'sdi,

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ingliz, fransuz va italyan 
tillarini o'rgandi. Parijga ko'chib

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kelib, umrining katta qismini 
shu yerda o'tkazdi, o'zini

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dramaturgiya, nazm 
va nasrga bag'ishladi.

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Tilga bo'lgan kuchli muhabbatiga qaramay,

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Bekket ijodiga tanaffus kiritib,

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sukunatda vaqt o'tkazish uchun 
doim joy topa olgan.

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Absurd teatri tufayli mashhur bo'lgan

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notekis bayon qilish usuli 
hamda qora yumor

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ijodidagi o'ziga xoslik hisoblanadi.

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U, shuningdek, 
sirli shaxs obrazini yaratdi

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va o'z asarlari ma'nosi haqidagi 
har qanday taxminlarga

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munosabat bildirishdan bosh tortdi.

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Bu esa tomoshabinlarni ko'proq

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o'ylanishga undadi, 
yozuvchining xayoliy olami

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va sirli personajlariga bo'lgan 
qiziqishlarini yanada oshirdi.

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Hech qanday aniq ma'noning
yo'qligi dramaning

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cheksiz talqinlarini 
yaratishga imkon berdi.

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Tanqidchilar asarni turlicha 
tahlil qilishdi,

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natijada kosa ostidagi nimkosa 
nima ekani haqida

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noaniqliklar va taxminlar paydo bo'ldi.

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Uni Sovuq Urush, fashistlarga qarshi 
Fransiya qarshilik harakati

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va Britaniya Irlandiyani mustamlakaga 
aylantirishi

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masalalariga kinoya sifatida 
qabul qilishdi.

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Ikki qahramonning o'zaro ta'siri ham

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qizg'in bahslarga sabab bo'ldi.

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Ularni oxir zamondan omon qolganlar, 
qariyotgan

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sheriklar, ikki irodasiz do'stlar va hatto

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Freyd aytgan psixikaning «Men» va «U» 
shakllari timsoli sifatida qabul qilishdi.

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Bekketning o'zi esa 
Vladimir va Estragonning

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"yarimdumaloq qattiq shlyapa kiyganiga"

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ishonchi komilligini aytgan xolos.

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Tanqidchilar fikri va 
asabbuzar sujetga ko'ra,

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obrazlar nutqi ko'pincha 
bir nuqtada aylanaveradi.

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Ular o'zaro tortishadi, 
bir-birini masxaralaydi,

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kalavaning uchini yo'qotib, 
boshlagan gaplariga qaytadilar:

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Vladimir: Barchasini boshidan 
boshlashimiz kerak ko'rinadi.

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Estragon: Qiyin bo'lmasa kerak.

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Vladimir: Nimadan boshlashni 
bilmasang, qiyin.

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Estragon: Istagan narsangdan 
boshlashing mumkin.

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Vladimir: Ha, ammo sen 
qaror qilishing kerak.

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Bekket sahnadagi dunyo 
kundalik hayotimiz singari

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hamisha ham ma'no kasb 
etavermasligini eslatmoqchi bo'ladi.

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U haqiqat va xayolotni ham, 
tanish va notanishni ham

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o'zida mujassam etishi mumkin.

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Mantiqiy bayon 
mushohada uchun yoqimli bo'lsa-da,

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yaxshi drama bizni o'ylashga… 
va kutishga undaydi.