Country road. Unnamed road, alongside which Vladimir and Estragon await the arrival of Godot. No clues are given to identify the location, whose terrain is a flat and unbroken plain to the distant horizon. In a ditch nearby, Estragon has spent the night, despite beatings by an unknown “they.” In effect, the road stretches to and from nowhere in particular, although Pozzo says he is leading his servant, Lucky, down the road to a fair. Pozzo’s claim that he owns the land is not necessarily true. Although Vladimir refers to past experiences together atop the Eiffel Tower in Paris and grape-picking “in the Macon country,” Estragon claims that he has never been in Macon country and has “puked [his] puke of a life away here . . . in the Cackon country.” None of these claims is verifiable.
Despite Beckett’s insistence that productions of his plays should always adhere to his specifications, the austere set he intended for this play has occasionally been radically altered by stage designers. For example, the set of the 1988 Broadway production of Waiting for Godot designed by Tony Walton was a stretch of Nevada highway, cluttered with debris and abandoned car parts.
Tree. Sole landmark by the road that helps direct Vladimir and Estragon to where they are to meet Godot. The scraggly tree is bare in the play’s first act. Although no other trees can be seen, Vladimir and Estragon are uncertain that this is the correct tree by which they should be waiting. Indeed, they think it might not be a tree at all, but rather a shrub or a bush. Vladimir suggests that it might be a willow but admits that he does not know. He also suggests that the tree may be dead. However, when the second act opens there are four or five leaves on the tree, proving that the tree is alive and that an indeterminable length of time has passed.
Beckett reportedly told a biographer that Waiting for Godot was inspired by Kaspar David Friedrich’s painting Two Men Observing the Moon, in which such a tree figures prominently.
Low mound. Slight slope of land on which Estragon sits at the beginning of the play, struggling to remove his boot. This is the only other feature of the landscape mentioned in the stage directions.