In Samuel Beckett’s tragic-comic play “Waiting for Godot”–often hailed as one of the most important post-modernist plays–the wait seems to be less about “God” and more about “tomorrow”.
Didi and Gogo are consumed with the dread of tomorrow. The future. The “what next”. So even though they anticipate judgement or punishment for some unnamed deed, what they really fear is what that judgement may mean for them.
If the past or today is bleak, one can always console oneself that it will get better tomorrow. But what happens when you begin to dread this very tomorrow? Even though you are curious about it, yet you don’t know whether you have it in you to face it, brave it or perhaps, accept it.
The present begins to give you comfort because its not uncertain or unpredictable in any way. Didi and Gogo have the leisure of fooling around or lamenting about what has been and then articulating their frustration about what may or can be.
They can own their current moments and shape them the way they want it. Speculation about the nature of authoritative forces and the extent of the power they wield is the essential sub-text of the dialogues exchanged between the two–many of which are hilariously scatalogical.
When tomorrow stops being hope and the present begins to give you stability, is probably when existentialism should be cast aside.