Reexamining the Being, Absence, and Materiality: An Object-Oriented Ontological Analysis of Samuel Beckett’s Waiting for Godot

Abstract

Samuel Beckett's Waiting for Godot stands as a seminal work in 20th-century theatre, often analyzed through existential and absurdist lenses. This article explores Samuel Beckett’s Waiting for Godot through the lens of Object-Oriented Ontology (OOO), a philosophical framework that emphasizes the autonomy and equal ontological status of all objects, human and non-human alike. By applying OOO’s principles—particularly Graham Harman’s concepts of withdrawal, allure, and the quadruple object—this study reinterprets the play’s existential themes, barren setting, and enigmatic characters as a network of objects interacting in a flattened ontology. The analysis foregrounds the agency of non-human entities, such as the tree, boots, and hat, which are not mere props but active participants in the play’s metaphysical inquiry. Through detailed textual analysis and visual documentation, this article argues that Waiting for Godot challenges anthropocentric narratives, aligning with OOO’s rejection of human exceptionalism. The interplay of absence (Godot) and presence (material objects) reveals a world where meaning emerges not from human intention but from the relations and tensions among objects. This study contributes to Beckett scholarship by offering a novel materialist reading that decenters human agency and reconfigures the play’s philosophical implications.