当布莱希特提出“史诗戏剧”理论并付诸艺术实践的时候,另一条戏剧之路也在由隐而彰,直到《等待戈多》的出现,才建立起令人瞩目的里程碑。贝克特所有的剧作都显示出这样一种戏剧观念:他要利用简单的直观形象,在舞台上“写出”或“演出”一首诗,而不是叙述一个故事。与布菜希特相对,贝克特的戏剧可称为“抒情诗戏剧”。与自然科学不同,许多美学概念都具有一定程度的模糊性,我们提起它们的时候,不得不稍稍做些界定。“史诗”(epic)本指一种古老的文学体裁,但“史诗戏剧”不是指“史诗型的戏剧”,而是指“叙事的戏剧” When Brecht introduced the theory of “epic drama” and put it into artistic practice, another path of drama was also hidden, until the advent of “waiting for Godot” was set to a remarkable milestone. Beckett’s plays all show a dramatic idea that he wants to “write” or “perform” a poem rather than narrate a story on the stage with a simple, intuitive image. In contrast to Blanchett, Beckert’s plays can be called “lyric theater.” Unlike the natural sciences, many of the aesthetic concepts have a certain degree of ambiguity, and when we bring them up, we have to make a little definition. “Epic” means an ancient literary genre, but “epic drama” does not mean “epic drama” but “narrative drama”