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The present article aims at discussing, first and briefly, the experimental features Samuel Beckett (1906-1989) imprinted in Waiting for Godot (1948-1949), among them the implosion of dramatic elements and the inscription of detailed performance instructions within the text itself, thus creating a performance model for which he used to demand respect. Thereupon, after addressing the 1955 first incursion of Godot in Brazil, a historical panorama of some outstanding stage productions of the play, mainly in terms of conceptualization and critical reception, will be provided, in the light of theoretical perspectives by Oswald de Andrade, Jose Roberto O’Shea, Patrice Pavis, Peter Burke, among others.

Cultural appropriation: brazilian stage productions of Samuel Beckett’s Waiting for Godot