ABSTRACT
Pozzo and Lucky are the only characters in Beckett's stage plays who move freely through the landscape. Vladimir and Estragon, with whom they are contrasted in Waiting for Godot, are waiting and, in that capacity, rooted to one spot. In Happy Days Winnie is rooted in the earth, like a tree and sinking deeper and deeper. In Beckett's most recent plays, this movement to stricter and stricter patterns seems to have carried him towards a new and far more austere form of drama: not only have his plays become more and more concise, they have also shed the notion of characters in action which is so often regarded as the basic minimum definition of drama itself.
