BEYOND OBJECT AND LETTER: AN ANALYSIS OF SAMUEL BECKETT’S ENDGAME IN THE CONTEXT OF LANGUAGE AND SIGNS

This article explores how Samuel Beckett's play Endgame exemplifies the principles of absurd theatre by demonstrating that objects and symbols can deliver meaning more effectively than words. Drawing on Martin Esslin's definition of absurd theatre, the article examines the core elements present in Endgame, such as the absurdity of life, the failure of language and communication, anti-realism, isolation and alienation, archetypical characters, and the use of metaphors and symbols. The analysis highlights the inadequacy of language in conveying meaning and how Beckett uses symbols and décor to represent deeper existential themes. Key symbols like Hamm’s chair, Clov’s ladder, and the two windows convey complex meanings of hope, despair, and the search for meaning more powerfully than spoken dialogue. These objects also facilitate stronger communication between the characters and between the play and its audience, bridging gaps that words cannot. The metaphor of the chess endgame is particularly significant, illustrating the constrained and repetitive nature of the characters' existence. The study emphasizes the superior role of objects and symbols in communicating the profound themes of absurd theatre, demonstrating how Endgame transcends conventional storytelling to delve into the human condition, making it a profound work in both existential philosophy and absurdist theatre.