Beckett’s literary works is centred to human condition and its tragic absurd emptiness. His literature is in lack of a central meaning. Though the emptiness and absurdity of human condition and life is the main message of his plays, characters restlessly struggle to find a purpose for their actions. Setting in his plays is irrational and senseless. No real sense of time and place is felt in Beckett’s drama. Unaware of time, lost in an unknown place, his characters are waiting for something that they believe to be a purpose, the meaning of life maybe; a something that may not have an outer existence and might be the result of a mental delusion. Beckett’s essence of drama is extracted from the absurd human conditions in this world that has caused the characters suffering, pain, and a short restless striving existence which tend to be unpleasant. Human’s wants and needs are reduced in his plays and what characters live to breathe. That’s why almost all his literary outlet “comprises a unity in which certain attitudes are expressed in different ways with much force and rare imagination: life is cruel and painful; failure is no worse than success because neither matters; what is important is to avoid giving pain to others and to share misfortune” (Chambers and Prior, 1987, p 78). As it is considered to Beckett, there is no explanation for a meaning, nor a meaning for any explanations and this is where joints Beckett to existentialists. Referring to this notion, communication in Beckett’s plays, including Endgame, leads to cruelty, frustration, and disillusionment which round about life and death, hope and disparateness, and other obstacles of life.
Existentialism, as a modern movement, stands against all the previous traditional philosophies of life. Along with the existentialism mainstream, Beckett’s theatre is an antithesis of the common drama of his age, because it discards the realistic characters, settings, and even actions. Instead, he emphasises