Godot dramaturgy questions

So sorry these are so late.

Some musings:

-How can we track the decay of these characters' bodies in relation to the play? Going off our questions re: time, it seems to me one of the more reliable markers of time is how the characters interact with their bodies: how Pozzo decays from sighted to sightless, how Estragon registers his wounds.
         -Is such decay "significant" somehow, thematically? Or symbolically? Or should we just take it as "decay?"

-Who are the pugnacious "they" and why do they beat up Estragon/Vladimir?
         -Is this in any way connected to something autobiographical? Beckett's own time sequestered in the countryside? (Probably reading a bit too much into that one)

-What is the landscape of the play? We know that it's a "country road" with "a tree" at "evening." Does anything surround this tree? Is there a soundscape? Are there critters? How far are they from those locations in France Kat/they mention?

-What is the nature of Vladimir and Estragon's relationship? We know they have known each other for a long time. Are they friends? Are they brothers? Are they lovers? Did they transition between these relationship (friends to lovers, brothers to friends, lovers to friends, brothers to lovers (!ack!))?
         -For that matter, what is the exact nature of Pozzo and Lucky's relationship? Is it slave/master, or servant/master? How did this come to be? How does the nature of their relationship affect the world of the play?

-How can we explore the comedy of this play? Is it vaudevillian? Lecoq? None of the above?
         -To what extent can we/should we imbue the play with contemporary stylistic elements? I'm thinking about the Classical Theatre of Harlem production; the NY Times review I read mentioned that the production "owed debts" to rap. Would such contemporary elements overdetermine the setting/Godot somehow?

And, of course, some of the questions we brought up in class last week:
         -Why do this play? How does it relate to us? To our audience? To our theater company? Does it resonate with us philosophically? Aesthetically? Politically? Topically?
                   -What does it mean for this play to be "political?" Does imbuing the play with contemporary politics "overdetermine" Godot? If so, do we mind?
         -Should we/How can we explore the difference between the specificity of Beckett's stage directions (Estragon's boots, musing on the struggle, watching the sun set) and the ambiguity of an audience's perspective?