Una lectura de 'Esperando a Godot' y 'Fin de partida' a través de la melancolía = The Reading of Waiting for Godot and Endgame through Melancholy

摘要

By reading Waiting for Godot (1953) and Endgame(1957) through the Freudian concept ofmelancholy, this article is an attempt to examinethe mechanisms that legitimate Beckett’s theatre. Ina post-catastrophe scenery where the word seemsto have been devoid of meaning, Beckett finds theformula to create dramas without these being vain,and it is through the analysis of elements such astime, space and memory that the structure of histheater is exposed. Thus what was denominatedas Theatre of the Absurd becomes filled withauthentic meaning