CHOOSING MY ARTWORKS. . .

The most dominant part of the simple stage design of Waiting for Godot is the solitary tree that stands onstage during both acts.

In terms of artworks I would use for this central aspect of the play, I have considered a few sculptures but decided Anya Gallaccio's Because I Could Not Stop, 2002 would be the most interesting central piece to my stage.

Here, Gallaccio adorns a bronze tree with real decaying apples; the apples would thus gradually decay over the course of the performance exhibition showing, alluding to the theme of the passing of Time that is concurrent with the play being acted on the stage. This creates several parallels throughout the performance; the unison of the bronze structure and the decaying matter juxtapose one another, and the acted out scenes that are undergone beneath the tree where many discussions lead to an awareness of ageing, the experience of perseverance and the inevitable passing of Time itself. 

The further subtleties of the allusion to the book of Genesis are also interesting to the overall exhibition; the apples on the tree refer to the forbidden fruit eaten by Adam and Eve - many references to biblical text are demonstrated throughout the play.

VLADIMIR 
(musingly) The last moment . . . (He meditates.) Hope deferred maketh the something sick, who said that?

Similarly, the notion of ephemerality and temporality would work well when put with WFG.


VLADIMIR 
Two thieves, crucified at the same time as our Saviour. One—
ESTRAGON 
Our what?
VLADIMIR 
Our Saviour. Two thieves. One is supposed to have been saved and the other . . . (he searches for the contrary of saved) . . . damned. (1.62-64)