Towards the end of the XIX-th century, the Belgian play writer Maeterlinck, the most important representative of Symbolism, imagined a theatre of anxiety, of the human destiny confronted with its own limits. The dramatism of his characters resides in their failure to communicate with each other and with the world they live in but which constantly seems to reject them. They are frightened by a hostile environment that they do not manage either to understand or cope with, being nevertheless conscious of their human limitations that prevent them from perceiving clearly what is happening all around. By confronting the audience with the human inner conflicts, a poetic, magic theatre is meant to produce an effect of liberation. Like the future characters of the Theatre of the Absurd and of the “New Theatre”, Maeterlinck is aware of the fact that language is a constant source of misunderstandings. Both Maeterlinck and Beckett create a static theatre in their attempt to explore the depths of the inner self. Both seize the tragism of the human condition forced to face the devastating action of time; their heroes are disoriented since they have lost any sense of unification, condemned to live in a disintegrating world, alienated and irrational.