The Wait Subtitles French
I flew from Los Angeles International Airport (LAX) to Faaa International Airport (PPT) in Tahiti on Oct. 23, and despite the fact that it was nearly a year and a half after I'd initially intended to go, my flight was well worth the wait.
The Wait subtitles French
Every seat had a water bottle and a pillow and blanket waiting for passengers. The brightly patterned pillow was small, just 15 by 10 inches, and, like the blanket, was scratchy. But they were fine for a little nap during a daytime flight.
Waiting for Godot (/ˈɡɒdoʊ/ GOD-oh) is a play by Samuel Beckett in which two characters, Vladimir (Didi) and Estragon (Gogo), engage in a variety of discussions and encounters while awaiting the titular Godot, who never arrives. Waiting for Godot is Beckett's translation of his own original French-language play, En attendant Godot, and is subtitled (in English only) "a tragicomedy in two acts".
The play opens with two bedraggled acquaintances, Vladimir and Estragon, meeting by a leafless tree. Estragon notifies Vladimir of his most recent troubles: he spent the previous night lying in a ditch and received a beating from a number of anonymous assailants. The duo discuss a variety of issues at length, none of any apparent significance, and it is finally revealed that they are awaiting a man named Godot. They are not certain if they have ever met Godot, nor if he will even arrive.
Subsequently, an imperious traveler named Pozzo, along with his silent slave Lucky, arrives and pauses to converse with Vladimir and Estragon. Lucky is bound by a rope held by Pozzo, who forces Lucky to carry his heavy bags and physically punishes him if he deems Lucky's movements too lethargic. Pozzo states that he is on the way to the market, at which he intends to sell Lucky for profit. Following Pozzo's command "Think!", the otherwise mute Lucky performs a sudden dance and monologue: a torrent of academic-sounding phrases mixed with pure nonsense. Pozzo and Lucky soon depart, leaving the bewildered Estragon and Vladimir to continue their wait for the absent Godot.
Vladimir and Estragon are again waiting near the tree, which has grown a number of leaves since it was last seen in Act 1. Both men are still awaiting Godot. Lucky and Pozzo eventually reappear, but not as they were previously. Pozzo has become blind and Lucky is now fully mute. Pozzo cannot recall ever having met Vladimir and Estragon, who themselves cannot agree on when they last saw the travelers. Lucky and Pozzo exit shortly after their spirited encounter, leaving Vladimir and Estragon to go on waiting.
The above characterizations, particularly that which concerns their existential situation, are also demonstrated in one of the play's recurring themes, which is sleep. There are two instances when Estragon falls asleep in the play and has nightmares, about which he wanted to tell Vladimir when he woke. The latter refuses to hear it since he could not tolerate the sense of entrapment experienced by the dreamer during each episode. This idea of entrapment supports the view that the setting of the play may be understood more clearly as dream-like landscape, or, a form of Purgatory, from which neither man can escape.[original research?] One interpretation noted the link between the two characters' experiences and the way they represent them: the impotence in Estragon's nightmare and Vladimir's predicament of waiting as his companion sleeps. It is also said that sleep and impatience allow the spectators to distinguish between the two main characters, that sleep expresses Estragon's focus on his sensations while Vladimir's restlessness shows his focus on his thoughts. This particular aspect involving sleep is indicative of what some called a pattern of duality in the play. In the case of the protagonists, the duality involves the body and the mind, making the characters complementary.
Whether the boy from Act I is the same boy from Act II or not, both boys are polite yet timid. In the first act, the boy, despite arriving while Pozzo and Lucky are still about, does not announce himself until after Pozzo and Lucky leave, saying to Vladimir and Estragon that he waited for the other two to leave out of fear of the two men and of Pozzo's whip; the boy does not arrive early enough in Act II to see either Lucky or Pozzo. In both acts, the boy seems hesitant to speak very much, saying mostly "Yes Sir" or "No Sir", and winds up exiting by running away.
Just after Didi and Gogo have been particularly selfish and callous, the boy comes to say that Godot is not coming. The boy (or pair of boys) may be seen to represent meekness and hope before compassion is consciously excluded by an evolving personality and character, and in which case may be the youthful Pozzo and Lucky. Thus Godot is compassion and fails to arrive every day, as he says he will. No-one is concerned that a boy is beaten. In this interpretation, there is the irony that only by changing their hearts to be compassionate can the characters fixed to the tree move on and cease to have to wait for Godot.
Most audience members were baffled by the play. Theatregoers would leave after the first act, describing it as a play where "nothing happens", and taxi drivers would wait in front of the theatre to take them home. The Miami showing caused the cancellation of the showings in New York.
The Mitzi E. Newhouse Theater at Lincoln Center was the site of a 1988 revival directed by Mike Nichols, featuring Robin Williams (Estragon), Steve Martin (Vladimir), Bill Irwin (Lucky), F. Murray Abraham (Pozzo), and Lukas Haas (boy). With a limited run of seven weeks and an all-star cast, it was financially successful, but the critical reception was not particularly favourable, with Frank Rich of The New York Times writing, "Audiences will still be waiting for a transcendent Godot long after the clowns at Lincoln Center, like so many others passing through Beckett's eternal universe before them, have come and gone."
A web series adaptation titled While Waiting for Godot was also produced at New York University in 2013, setting the story among the modern-day New York homeless. Directed by Rudi Azank, the English script was based on Beckett's original French manuscript of En attendant Godot (the new title being an alternate translation of the French) prior to censorship from British publishing houses in the 1950s, as well as adaptation to the stage. Season 1 of the web series won Best Cinematography at the 2014 Rome Web Awards. Season 2 was released in Spring 2014 on the show's official website whilewaitingforgodot.com.
Ticketholders with seats in the stalls or galleries arriving after the start of the performance will be asked to wait in the foyer or the second gallery respectively until the interval. Box ticketholders may take their seats after the performance has started.
[on camera] Britain's National Health Service is dedicated to the proposition that you should never have to pay a medical bill. In the NHS, there's no insurance premium, no co-pay, no fee at all. The system covers everybody. And you know, when we lived here, my family got really good care from the NHS, although we often had to wait to see a doctor. And yet the newspapers here are full of NHS horror stories-- rationing, waiting lists, terrible mistakes. So I've come to London to see this NHS. Is it an answer for the U.S. or just some horrible socialist nanny state?
T.R. REID: In the last decade in Britain, Tony Blair and other politicians have reduced the waiting lists. They did it by spending more money and by bringing some market mechanisms into a government-run system. Today, government-owned hospitals like the Whittington compete against each other for government money. In today's NHS, patients can choose which hospital to go to.
To sum up then, there's a lot to like in Britain-- no bills, NHS waiting lists are getting shorter, there's excellent preventive medicine. But there's probably still too much government here for American tastes, even if the NHS is trying to be more market-savvy.
KONO HITOSHI, M.D., Director, Kono Medical Clinic: [subtitles] The best thing about the Japanese medical system is that all citizens are covered--anyone, anywhere, any time. And it's cheap.
Dr. KONO HITOSHI: [subtitles] Some patients just have their blood pressure taken, receive medication, and then they leave, taking only about a minute, like a health check, very quick. So if you take the average, it's from 3 to 5 minutes.
T.R. REID: Serious, same day. If I come in here and you look at my shoulder and say, "Well I think maybe an orthopedic specialist should look at it," then how long would I have wait to see the--
In just three countries, I've picked up lots of ideas. The Brits pay no doctor bills and have great preventive care. In Japan, there's no waiting time and doctors still make house calls. In Germany, insurance companies compete for business, even though they can't make a profit.
T.R. REID: [voice-over] They wanted a system that gave everybody equal access to health care, free choice of doctors, with no waiting time, and a system that encouraged lots of competition among medical providers. To finance the scheme, they chose a national insurance system that forced everybody to join in and pay.
PIERRE-MARCEL REVAZ, CEO, Groupe Mutuel: [subtitles] It's very competitive because each company wants to keep its old customers and get new clients. So there's extreme competition for service and price.
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It's curious that, for all the French outcries against American imports, this particular home-grown hit has "Hollywood" written all over it. Strip away the subtitles, and the result is the kind of mediocre comedy that major American production companies turn out with alarming regularity. The Visitors is a "least common denominator" motion picture -- largely mindless, sporadically funny, and creatively handicapped. 041b061a72