Word: pozzo
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Dates: during 1970-1979
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...Waiting for Godot, with exquisite precision, records the pain of existence. "The tears of the world are a constant quantity. For each one who begins to weep, somewhere else another stops." So says Pozzo, the slavedriver, the pig, the spokesman for a decaying, overburdened, but strangely charming establishment. "There is no lack of void," says Estragon, cap-turing in his words the twentiethcentury's ironic understanding of time and space. And the agony, the anomic, the anxiety, the sheer numbing ignorance of existence is what impassions Vladimir's shriek to an unhearing universe...
...sleeping, while the others suffered? Am I sleeping now? To-morrow, when I wake, or think I do, what shall I say of today? That with Estragon my friend, at this place, until the fall of night, I waited for Godot? That Pozzo passed, with his carrier, and that he spoke to us? Probably. But in all that what truth will there be?... At me too someone is looking, of me too someone is saying, He is sleeping, he knows nothing, let him sleep...
George Ede's Pozzo is probably the best-played role: simply because he is orthodox (i. e., he follows Beckett's intentions) the part is convincing, assured, and professional. But George Sheanshang as Lucky, Pozzo's bearer, presents a special problem. Sheanshang acts intensely and well, is properly demented, and has bestowed on his character just the right Marat/Sade touch. Yet because his buckskni leggings, his moccasins, his headband, his pigtails, and his blond fright wg make him look like an albino Apache, the spectre of Lucky-as-oppressed-Red-Man is aggressively and offensively present on stage...