Waiting for Godot is an abstract, open-ended work that, when produced, becomes a concrete, closed form based upon the interpretation of its director(s) and also upon the critical lens imposed. In my thesis, I focus upon the inherent decisions that writers and readers must make for the work to become realized as a piece of performance art. Thus, I discuss why respected and powerful productions of the play are often at odds with one another and what this says about the nature of Beckett's postmodern minimalism. Much of the these secondary sources I rely upon are strange for literary studies in that the critics discussing the works are themselves play producers or otherwise involved in the production of the plays. Interestingly, many of the famous critics discussed knew Samuel Beckett, starred in productions, discussed the play with Beckett, and corresponded with the Beckett Foundation. My research deals with the play’s significance and what it reveals about the interpretive process, especially when critics, readers, and producers interpret such a postmodern minimalist work of art.