二次世界大战后,荒诞戏剧开始出现在西方世界的戏剧舞台上。它兴起于50年代的法国,在60年代席卷了欧美各国。从语言的表达方式角度分析,荒诞戏剧在表现其荒诞主题时往往运用一些荒诞反常规的做法,在语言台词的创作时偏好于一些夸张的、荒诞的、反逻辑的、非理性的语言台词。在一整部荒诞派剧中往往不会有让人陶醉的台词,也不会有直击人心的话语,相反往往是平时生活中常用的不断重复的通俗话语。而《等待戈多》则是西方荒诞戏剧的代表之 After the Second World War, absurd drama began to appear on the theatrical scene in the Western world. It rose in France in the 1950s and swept through Europe and the United States in the 1960s. From the perspective of language expression, absurd plays tend to use absurd anomalies when expressing their absurdity, preferring some exaggerated, absurd, anti-logical and irrational language lines in the creation of language lines. In a whole series of absurd plays there is often no enchanting line, no direct talk of the heart, but often the repetitive, common discourse commonly used in everyday life. Waiting for Godot is the representative of Western absurd drama