Abstract. In this brief discussion we consider the two works by Samuel Beckett considered most connotative of his literary maturation and at the same time more denotative of a completely singular way of doing theater, outside the usual schemes, where the most characteristic themes of his radical revision are summarized around to the concept of “life as waiting”: “Waiting for Godot” and “Happy days”. Both works, although lacking a rationally sustainable plot and in fact without incipit and without ending, express extremely significant allegories and metaphors of which they offer a plastic representation, where the theatrical script explains in a visible and complete way the literary narration: the theater assumes in Beckett and in the “school of thought of the absurd” the scenographic iconography, even if essential and minimalist, of a symbolism otherwise difficult to understand.
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