Globalization of the Dramatic Discourse in the Interest of trans-acculturation: A Fresh Reading of Beckett s Waiting for Godot

This article aims at examining the elements, goals and strategy of the absurd theatre, which helped universalize the dramatic discourse. Traditionally, aspects of drama, including setting, plot, technique, characters and themes were designed to address certain rules and regulations set up conventionally by classical dramatists, such as Plato, Aristotle, Horace, Longinus and Sidney, and attend to a certain category of people, like the upper/noble classes, in the case of the Greek and Elizabethan theatres, and the middle and lower classes in the Victorian theatre. The absurd theatre, seemingly, came as a reaction to this type of conventional drama. It is an attempt to wrestle the dramatic discourse free from the restrictions and limitations imposed upon it by the conventional rules of writing; violating the traditional rules of writing that includes language, characters, setting, theme, and technique. Herein lies the importance of this study that throws light on the dramatic discourse, which absurdists, including Beckett, attempt to globalize, following the example of the existentialism of Albert Camus and Jean Paul Sartre, who argued: Humanity had to resign itself to recognizing that a fully satisfying rational explanation of the universe was beyond its reach, and, the world must ultimately be seen as absurd.