塞缪尔•贝克特是西方荒诞派戏剧大师，他创作的《等待戈多》被视为荒诞派戏剧的开端，不仅运用了大量后现代主义表现手法和艺术技巧，而且在主题上展现了现代人所面临的本质上荒诞、无意义、无深度的绝望世界。 随着二十世纪八十年代西方艺术大量引入中国，早期实验剧的开拓者们也受到了西方现代戏剧的影响。1982年，高行健创作的无场次多声部生活抒情戏剧《车站》公开上映，这部戏剧不但在艺术形式上借鉴了西方现代戏剧，在主题和内容上也同西方荒诞派鼻祖塞缪尔尔•贝克特的《等待戈多》具有异曲同工之妙。高行健本人一方面承认自己受到了塞缪尔•贝克特的影响，另一方面又称自己孕育这部话剧已经历时已久，所表现的本质精神是不同的。那么，在相似的情节和主题下，高行健的《车站》与贝克特的《等待戈多》有何相似与不同？这种不同之间反映了文本背后蕴含的怎样的社会文化或集体意识的差异？本文试通过对两部戏剧文本与作者文化背景对比，以加深对两部戏剧的认识以及对其产生背景差异的理解，分析出这种异同的历史、文化深层原因。

Samuel Beckett in his famous drama Waiting for Godot used a lot of post-modernism expressional skills, and showed modern people’s spiritual state when facing the absurd, pointless, and despairing world. Waiting for Godot is regarded as the master work of the Rewarding Drama of the west. In the influence of western modern drama, especially Samuel Beckett’ Waiting for Godot, the outstanding Chinese dramatist Gao Xingjian got inspirations. In 1982, Gao Xingjian’s experimental multi-tone drama Bus-Stop, which is not only in the artistic form of western modern drama, but also the theme and content are similar to western absurd drama, was released. Afterward, Gao Xingjian admitted the influence of Beckett, while announced that he had conceived the plot for a long time, and the essence of performance was different. So, in similar forms and themes, what on earth are the similarities and differences between these two masterpieces? And how are the differences reflect the varieties of the two dramatists’ background culture or collective consciousness? This paper tries to compare these two texts and the author’s cultural background, in order to deepen the understanding of both dramas, and analyzes the reasons of history and culture behind.