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The problem of time.

The impression of immobility in Beckett's work is reinforced by his concept of time: while in traditional plays one can speak of a chronological developmnt of the events, in Beckett's plays there is no past (in the sense of tradition) or future (in the sense of expectations or progress), but rather a series of repetitions, all exactly alike and without any purpose. However, while Beckett's plays seem to be timeless, his characters are obsessed with the problem of time, as if they were "trapped in time" and forced to fill it with futile dialogues and gestures; while they are waiting for something or somebody to rescue them.

Beckett's philosophy of life.

In Beckett's world everything is reduced to the bare essentials, from the characters clothes to their material possessions, from their social status (Vladimir and Estragon are tramps) to the setting itself: "a road and a sigle tree" are the only scenery required for Waiting for Godot.

Beckett consciously deprives all his characters of all external superfluities so as to make it impossible for them -and for us- not to see man's tragic situation. Beckett's philosophy of life is close to French Existentialism: there is no meaning to life at all; our lives are devoid of any purpose, in a completely absurd and indifferent universe.

The disintegration of language.

In Beckett's plays talk is made up of absurd exchanges, or linguistic stereotypes through which the writer ironically exposes the vacuity of ready-made phrases. His characters are perfectly conscious that the words they incessantly produce are just a way to fill the endless days and nights.

Another device by which Beckett emphasises the inadequacy of words is the use of para-verbal language, such as mime, silences, circus-like gags, which ironically remind us of the farcical nature of so many human activities.