Waiting for Godot
Text: Translation Samuel
Becket: Fundación Juan
Garzia: Zurriola Theatre School
Actors: Nerea Arriola, Izaskun Labat, Aitor Andonegi, Guillem Moralen, Arantzazu Lizartza, Iosu Ariño, Amaia Elizalde and Jasone Sertutxa
Director:
When/ where: 14 May in the Udal Aretoa of Pasai San Pedro.

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The law of theater is here and now. That's why it's so special, because it's alive. It connects us with the present as if nothing existed beyond what is happening at the moment. It is not repeated, it cannot be repeated, not at least in the same way. What is shared in this space is only shared among those present. That is the starting point.

In the hope of Godot, a creation of 1940. It is one of the most unknown works by playwright Samuel Beckett, created in French and translated into Basque by Juan García in 2001. It is rooted in the theatre of the absurd, as if what happens makes no sense. Because nothing happens: nobody arrives, just spends time, they don’t move, the dialogues are repeated, actions are repeated, things are forgotten, they act as if they don’t notice the facts, they leave and return to the same place, they talk about abstract things, they don’t have awareness… But the viewer can come to believe that is the opposite. To think they know very well where, when and what they're doing and to put man in the front line. Things do not happen for any reason.

The work questions man and society. What it means to be here and now and what we do. Human simplicity and wealth of being. To do this, we present two main characters that are the essence of this work: Gogoa (Estragon) and Didi (Vladimir). Both simpler and drunk.

They also don't know what they think, when they wait, they know. And what doesn't come is Godot. It can be hope, it can be future. What we don't know, what we don't know or what we don't know. The characters place all the confidence in it and almost limit its existence. How beautiful is the simplicity of the human being, the appropriation of our presence and above all for what we are capable of, because Gogoa and Didi are not tuntos. They are aware of the absurdity of life, of the bankruptcy of mankind and show innocence to this. They are able to see injustices, even if they have not appointed them. They talk about suicide or going to another direction. But there they are. Perhaps this is the quality of the human being and society: to be now and so. Is it worth waiting for something that will not come? Only existing will not save us.

Following the law of theatre, take advantage to maintain a present that is even more interesting for the non-professional theater. Next and last pass: October 5 in Gasteszena (Egia, Donostia).