Why should you read "Waiting For Godot"? - Iseult Gillespie

Translator: Arofat Akhundjanova Reviewer: Nazarbek Nazarov

A shabby man named Estragon,

Uvadasi chiqqan kiyimdagi Estragon ismli

sits near a tree at dusk and struggles to remove his boot.

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

He’s soon joined by his friend Vladimir,

Tez orada do'sti Vladimir uning

who reminds his anxious companion that

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

they must wait here for someone called Godot.

Godo ismli allakimni kutishlari kerakligini eslatadi.

So begins a vexing cycle in which the two debate

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

when Godot will come, why they’re waiting,

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

and whether they’re even at the right tree.

daraxt ostida kutyapmizmikin degan savollar atrofida tortishadilar.

From here, Waiting for Godot only gets stranger -

Zamonaviy dramaturgiya qiyofasini o'zgartirib yuborgan

but it’s considered a play that changed

asar hisoblanuvchi «Godoni kutish» syujeti

the face of modern drama.

shundan boshlab tobora g'alati tus oladi.

Written by Samuel Beckett between 1949 and 1955,

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

it offers a simple but stirring question -

oddiy, ammo hayotiy dolzarb savolni o'rtaga tashlaydi:

what should the characters do?

qahramonlar nima qilishlari kerak?

Estragon: Don’t let's do anything. It's safer.

Estragon: Hech nima qilmay tura qolaylik. Shunisi xavfsizroq.

Vladimir: Let’s wait and see what he says.

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

Estragon: Who?

Estragon: Kim?

Vladimir: Godot.

Vladimir: Godo.

Estragon: Good idea.

Estragon: Yaxshi fikr.

Such cryptic dialogue and circular reasoning are

Bunday chunarsiz dialoglar va takroriy muhokamalar

key features of the Theatre of the Absurd,

Ikkinchi Jahon Urushidan keyin yuzaga kelgan

a movement which emerged after the Second World War

va tartibsizlik ichra hayotiy maslagini topishni

and found artists struggling

o'zining adabiy maqsadiga aylantirgan

to find meaning in devastation.

absurd teatrining asosiy xususiyatlari hisoblanadi.

The absurdists deconstructed plot, character and language

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

to question their meaning and share

bu bilan har birining alohida ma'nosini topmoqchi

their profound uncertainty on stage.

va sahnada ulardagi bor noaniqlikni namoyish etmoqchi bo'ladilar.

While this may sound grim,

Bu qayg'uli eshitilishi mumkin,

the absurd blends its hopelessness with humor.

ammo absurd dramada chorasizlik kulgi ostiga olinadi.

This is reflected in Beckett’s unique approach

Aynan mana shu janr Bekket "ikki aktdan

to genre in Waiting for Godot,

iborat tragikomediya" deb tasniflagan

which he branded “a tragicomedy in two acts."

«Godoni kutish» asarida o'z aksini topgan.

Tragically, the characters are locked in an

Fojia shundaki, qahramonlar ekzistensializmning

existential conundrum: they wait in vain

boshi berk ko'chasiga kirib qoladilar: ular yashashdan

for an unknown figure to give them a sense of purpose,

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

but their only sense of purpose

kutadilar, ammo kutish jarayonining

comes from the act of waiting,

o'zi ular hayotining yagona mohiyatiga aylanadi.

While they wait, they sink into boredom,

Xaloskorlarini uzoq kutar ekanlar, qahramonlar g'ussaga

express religious dread and contemplate suicide.

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

But comically, there is a jagged humor to their predicament,

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

which comes across in their language and movements.

kulgili holati ularning nutqi va xatti-harakatlarida

Their interactions are filled with bizarre wordplay,

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

repetition and double entendres,

va qochirimlarga to'la, harakatlanish

as well as physical clowning, singing and dancing,

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

and frantically swapping their hats.

raqsga tushadi va hovliqib shlyapalarini almashadi.

It’s often unclear whether the audience is supposed to

Bunday vaziyatda tomoshabinlar kulishni ham, yig'lashni

laugh or cry - or whether Beckett saw

ham bilmay qoladi. Bekket bu ikki hissiyot o'rtasida

any difference between the two.

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

Born in Dublin, Beckett studied English,

Bekket Dublinda tug'ilib o'sdi,

French and Italian before moving to Paris,

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

where he spent most of his life writing theatre,

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

poetry and prose.

dramaturgiya, nazm va nasrga bag'ishladi.

While Beckett had a lifelong love of language,

Tilga bo'lgan kuchli muhabbatiga qaramay,

he also made space for silence by incorporating gaps,

Bekket ijodiga tanaffus kiritib,

pauses and moments of emptiness into his work.

sukunatda vaqt o'tkazish uchun doim joy topa olgan.

This was a key feature of his trademark

Absurd teatri tufayli mashhur bo'lgan

uneven tempo and black humor,

notekis bayon qilish usuli hamda qora yumor

which became popular throughout the Theatre of the Absurd.

ijodidagi o'ziga xoslik hisoblanadi.

He also cultivated a mysterious persona,

U, shuningdek, sirli shaxs obrazini yaratdi

and refused to confirm or deny any speculations

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

about the meaning of his work.

munosabat bildirishdan bosh tortdi.

This kept audiences guessing,

Bu esa tomoshabinlarni ko'proq

increasing their fascination with his surreal worlds

o'ylanishga undadi, yozuvchining xayoliy olami

and enigmatic characters.

va sirli personajlariga bo'lgan qiziqishlarini yanada oshirdi.

The lack of any clear meaning makes Godot

Hech qanday aniq ma'noning yo'qligi dramaning

endlessly open to interpretation.

cheksiz talqinlarini yaratishga imkon berdi.

Critics have offered countless readings of the play,

Tanqidchilar asarni turlicha tahlil qilishdi,

resulting in a cycle of ambiguity and speculation

natijada kosa ostidagi nimkosa nima ekani haqida

that mirrors the plot of the drama itself.

noaniqliklar va taxminlar paydo bo'ldi.

It's been read as an allegory of the Cold War,

Uni Sovuq Urush, fashistlarga qarshi Fransiya qarshilik harakati

the French Resistance,

va Britaniya Irlandiyani mustamlakaga aylantirishi

and Britain’s colonization of Ireland.

masalalariga kinoya sifatida qabul qilishdi.

The dynamic of the two protagonists has

Ikki qahramonning o'zaro ta'siri ham

also sparked intense debate.

qizg'in bahslarga sabab bo'ldi.

They’ve been read as survivors of the apocalypse,

Ularni oxir zamondan omon qolganlar, qariyotgan

an aging couple, two impotent friends,

sheriklar, ikki irodasiz do'stlar va hatto

and even as personifications of Freud’s ego and id.

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

Famously, Beckett said the only thing he could

Bekketning o'zi esa Vladimir va Estragonning

be sure of was that Vladimir and Estragon

"yarimdumaloq qattiq shlyapa kiyganiga"

were "wearing bowler hats."

ishonchi komilligini aytgan xolos.

Like the critical speculation and maddening plot,

Tanqidchilar fikri va asabbuzar sujetga ko'ra,

their language often goes in circles as the two

obrazlar nutqi ko'pincha bir nuqtada aylanaveradi.

bicker and banter, lose their train of thought,

Ular o'zaro tortishadi, bir-birini masxaralaydi,

and pick up right where they left off:

kalavaning uchini yo'qotib, boshlagan gaplariga qaytadilar:

Vladimir: We could start all over again perhaps

Vladimir: Barchasini boshidan boshlashimiz kerak ko'rinadi.

Estragon: That should be easy

Estragon: Qiyin bo'lmasa kerak.

Vladimir: It’s the start that’s difficult

Vladimir: Nimadan boshlashni bilmasang, qiyin.

Estragon: You can start from anything

Estragon: Istagan narsangdan boshlashing mumkin.

Vladimir: Yes, but you have to decide.

Vladimir: Ha, ammo sen qaror qilishing kerak.

Beckett reminds us that just like our daily lives,

Bekket sahnadagi dunyo kundalik hayotimiz singari

the world onstage doesn’t always make sense.

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

It can explore both reality and illusion,

U haqiqat va xayolotni ham, tanish va notanishni ham

the familiar and the strange.

o'zida mujassam etishi mumkin.

And although a tidy narrative still appeals,

Mantiqiy bayon mushohada uchun yoqimli bo'lsa-da,

the best theatre keeps us thinking – and waiting.

yaxshi drama bizni o'ylashga… va kutishga undaydi.