Abstract

The suffering of Samuel Beckett's characters on the stage of the theater in the early fifties in twentieth century, has a meaning beyond the physical condition, and in its philosophical aspect it is seen as the existential pain of mankind.In this regard, the "Nihilism" in the works of Samuel Beckett is a completely philosophical and ontological concept that shapes the intellectual and literary character of his dramatic literature and profoundly depletes the language from within and from its semantic content.Nevertheless, the reaction of Estragon to words of Vladimir, in the famous play, waiting for Godow, "Come to repent", is contemplative: "What? / From being born?" It is worth noting that the present proposition induces a metaphorical interpretation of the endless suffering of humanity in the breadth of the universe.Therefore, it must be admitted that Beckett's literary-philosophical thought represents a verbal tension on the stage, a theater that, according to contemporary critics, has nothing to say,But Beckett's characters must somehow fill this story vacuum with meaningless words and childish movements, so that the duration of the show is possible in every possible way, and, finally, the contradiction of "the need to speak at the same disadvantage of communicating" is so formed And this itself produces an important phenomenological parameter called "Nothingness and Verbal Violence" at Beckett Theater.