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Journal articles on the topic 'Absurd Drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Susandro, Susandro, Afrizal H, Saaduddin Saaduddin, and Edy Suisno. "PARABOLIC DRAMA: PENYANGKALAN TEORETIK TERHADAP TEATER ABSURD." Melayu Arts and Performance Journal 3, no. 1 (2020): 49. http://dx.doi.org/10.26887/mapj.v3i1.1342.

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ABSTRACTSamuel Beckett's Waiting for Godot is one of the dramas that Martin Esslin calls the Absurd Theater. Furthermore, For Esslin, Theater of the Absurd is not only a term but a theater theory to know conventions and understand the meaning of a drama. In this way, Esslin puts the Absurd Theater into the trajectory of the development of the world's theater arts style, as well as leading the reader or audience to a perception that the life or routine that humans live in is meaningless, pointless and futile. However, the Theater of the Absurd, in the view of Michael Y. Bennett, a term that is

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2

Tong, Enyue, and Li Liu. "Research on the Theater of Absurd." Arts Studies and Criticism 4, no. 1 (2023): 1. http://dx.doi.org/10.32629/asc.v4i1.1210.

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This essay aims to do research on one of the most important modern drama movements in Europe — the Theater of Absurd, through doing the background research at first and then comparing works of the same type and period including Nobel Prize work. The authors want more people to get to appreciate the art form of Absurd Drama which precisely reveals very serious social issues fundamentally but through vivid and very comic form. That’s quite novel and classic! After researching on the wide ranges of drama movements in the same period like Environmental Theater, Theater of the Oppressed (TO), Epic

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3

Rais, Rais. "ABSURDITAS DALAM NASKAH DRAMA JALAN LURUS KARANGAN WISRAN HADI DAN IMPLIKASINYA DALAM PEMBELAJARAN SASTRA DI SMA." AKSIS: Jurnal Pendidikan Bahasa dan Sastra Indonesia 1, no. 1 (2017): 44–62. http://dx.doi.org/10.21009/10.21009/aksis.010103.

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This research aims to find out the absurdity in Jalan Lurus drama script by Wisran Hadi. This study uses qualitative descriptive method. The absurdity theory used in this study is based on Albert Camus's opinion on the themes of absurdity. The result of this research shows Jalan Lurus by Wisran Hadi is a form of absurd drama. The absurdity is the meaning of life, alienation, suicide, hope, and rebellion. The theme of life is most often presented in this drama. Meanwhile, the theme of suicide and rebellion in this drama became the least talked theme. Implications in literary learning in high sc

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Al-Mamouri, Muslim Mohd Lehmood, Aqeel Muslim Mohammed, and Ali Ahmed Mohammed. "The Dramatic Structure in the Theatre of Absurd in Iraqi Artist." International Journal of Religion 5, no. 11 (2024): 1322–30. http://dx.doi.org/10.61707/rtv5zn02.

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This research deals with the theatre of the absurd, multiple artistic features are used to express tragic themes in a comic form. The features include anti-character, anti-language, anti-drama, and anti-plot. The research problem centers on the following question: what is one of the most important features of the drama of the absurd in the text of an Iraqi playwright Taha Salim’s play? The importance of the research becomes clear as it represents a study of some Iraqi theatrical achievements with their modern methods and approaches especially the drama of the absurd, this is in addition to des

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5

Rudolf, Matevž. "Emil Filipčič med ludizmom in dramo absurda." Jezik in slovstvo 53, no. 5 (2024): 55–67. http://dx.doi.org/10.4312/jis.53.5.55-67.

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The article focuses on two early plays by Emil Filipčič: Kegler 6 (staged 1981) and Prisoners of Freedom (staged 1982). In drama analysis of the 1980’s, Filipčič’s drama was normally placed in the context of Luddite literature. Modern literary theory, however, prefers to use the term ‘Luddite elements’ rather than ‘Luddite literature’ – these elements are conceived as one of the techniques of the Drama of the Absurd. Based on an analysis of the degree of their fragmentedness and their dramatic characters, language and humour, we identify elements of the absurd in Filipčič’s dramatic pieces and

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6

Fadli, Mohammad, Zuriyati Zuriyati, and Saifur Rohman. "STILISTIKA ABSURDITAS DALAM TEKS DRAMA KAPAI-KAPAI." Pena Literasi 5, no. 2 (2022): 152. http://dx.doi.org/10.24853/pl.5.2.152-160.

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Penelitian ini bertujuan untuk mengetahui gaya bahasa teks drama Kapai-Kapai karya Arifin C.Noer dengan kajian absurditas. Pada artikel ini, peneliti membahas gaya bahasa absurditas yang ada pada teks drama Kapai-Kapai. Gaya bahasa absurditas dipadankan dengan konvensi drama absurd menyangkut aspek alur, tokoh dan penokohan, dialog, serta cerita. Teks drama Kapai-Kapai akan diteliti berdasarkan beberapa aspek tersebut sesuai konvensi drama absurd. Berdasarkan hasil, teks drama Kapai-Kapai mempunyai alur yang melingkar, tokoh-tokoh imajiner, dialog yang berulang-ulang, serta cerita yang menunju

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Keturakienė, Eglė. "Lithuanian Literature and Shakespeare: Several Cases of Reception." Interlitteraria 24, no. 2 (2020): 366–79. http://dx.doi.org/10.12697/il.2019.24.2.8.

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The article is based on the reception theory by Hans Robert Jauss and analyses how Shakespeare’s works were read, evaluated and interpreted in Lithuanian literature in the 19th to 21th centuries. Some traces of Shakespeare’s works might be observed in letters by Povilas Višinskis and Zemaitė where Shakespearean drama is indicated as a canon of writing to be followed. It is interesting to note that Lithuanian exodus drama by Kostas Ostrauskas is based on the correspondence between Višinskis and Zemaitė. The characters of the play introduce the principles of the drama of the absurd. Gell’s conce

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8

Waham, Jihad Jaafar. "LONELINESS AND LACK OF COMMUNICATION IN ABSURD PLAYS." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 7, no. 1 (2023): 15–22. http://dx.doi.org/10.30743/ll.v7i1.6972.

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Loneliness and lack of communication are common themes in absurd drama. This paper explores the portrayal of loneliness and lack of communication in absurd drama through an analysis of selected works of Samuel Beckett, Harold Pinter, and Eugène Ionesco. The method employed in this research is a qualitative analysis of the texts, examining the characters, settings, and language used to convey the themes of loneliness and lack of communication. The findings reach that these themes are central to absurd drama, reflecting the existential condition of modernity. The conclusion proposes that the por

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Yulia, Sari, and Yuli Astuti Amelia. "An Analysis of Ten Symbol of Grandma Death as Reflected in The Edward Albee Sandbox." Jurnal Ilmiah Pendidikan Scholastic 3, no. 2 (2019): 56–68. https://doi.org/10.5281/zenodo.3383438.

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<em>This </em><em>research</em><em> is entitled An Analysis </em><em>o</em><em>f Ten Symbol </em><em>o</em><em>f Grandma's Death As Reflected In The</em> <em>Edward Albee <strong>Sandbox.</strong> Where in the short story the 85-year-old grandmother who had been left by her husband and after the death of her husband the grandmother fought alone to support her child `namely mommys. But the child that grandmother hoped didn't care about him. Mommy treats grandma very inhumanely. He put my grandmother under the kitchen and only had a thin blanket and used potluck utensils. Then mommy took

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10

Baraniecki, Maria. "Gombrowicz’s Drama Within and Without the Absurd." Canadian Slavonic Papers 27, no. 3 (1985): 241–47. http://dx.doi.org/10.1080/00085006.1985.11091804.

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Yusriansyah, Eka. "Absurditas Naskah Drama “Pelajaran” karya Eugene Ionesco." Jurnal Sastra Indonesia 8, no. 2 (2019): 94–102. http://dx.doi.org/10.15294/jsi.v8i2.33715.

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Penelitian ini bertujuan untuk menelusuri wacana absurditas yang terlukis dalam naskah drama “Pelajaran” karya Eugene Ionesco. “Pelajaran” tergolong naskah absurd yang berarti berada di luar konvensi drama pada umumnya, tidak beralur, bertemakan nihilisme dan kesenduan metafisik, serta disesaki dialog yang hanya berupa celotehan tidak nyambung. Kepekaan intelektual dan penghayatan eksistensi kehidupan menjadi syarat kompetensi interpretasi. Penelitian ini adalah penelitian deskriptif kualitatif yang memanfaatkan metode hermeneutika dengan mengadopsi pembacaan heuristik dan hermenuitik. Teori s

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Bennis, Mohammed. "Demystifying the Absurd in Samuel Beckett's Fiction and Drama." International Journal of Language and Literary Studies 5, no. 2 (2023): 147–58. http://dx.doi.org/10.36892/ijlls.v5i2.1276.

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Understanding the philosophy of the Absurd has always solicited the attention of modern and post- modern critics, scholars and researchers. The Absurd remains one of the most inscrutable concepts that both philosophy and literature have produced ever. The Absurd as a vision of life came at a time when Western societies were experiencing a transitional juncture in terms of social, cultural, philosophical, political and technological changes. These societies were progressively shifting from traditional values of conservatism and uniformism that were essential characteristics of the first half of

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13

Susandro, Susandro. "Kajian Absurditas Pada Drama Permainan Akhir Karya Samuel Beckett." GESTUS JOURNAL : PENCIPTAAN DAN PENGKAJIAN SENI 2, no. 1 (2022): 43. http://dx.doi.org/10.24114/gsts.v2i1.36596.

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Drama absurd memiliki unsur intrinsik yang cenderung berbeda dari konvensi drama sebelumnya, terutama apabila dibandingkan dengan drama bergaya realisme. Hingga dewasa ini, telah banyak diskursus terkait bagaimana memahami drama tersebut. Oleh karena itu, penelitian ini bertujuan memaparkan unsur intrinsik lakon serta gagasan yang ada di baliknya. Penelitian ini menggunakan pendekatan kualitatif dengan metode analisis deskriptif. Adapun teknik yang dilakukan yaitu studi kepustakaan. Objek utama yang diteliti adalah lakon Permainan Akhir karya Samuel Beckett terjemahan Djoko Quartantyo dengan m

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Yasa, I. Nyoman. "DUNIA ABSURD DAN PERLAWANAN KELAS PADA DRAMA DAG-DIG-DUG KARYA PUTU WIJAYA." Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa 3, no. 2 (2010): 136. http://dx.doi.org/10.24036/ld.v3i2.7374.

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Research on drama in Indonesia is an effort to apply and express the theory in Indonesia. Naturally a theory existence from research accumulation to applied skills. It is hoped that this research can accumulate the science, mainly drama. The term of absurd was used by Martin Esslin for kind of theater that used the failure of language as main of communication. Besides, this term is popularized by Eugene Ionesco. He is a writer of absurd theater. Many of his drama already translated and performed in Indonesia. The data that already collected is analyzed by using the concept of absurdity to reve

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15

Irianto, Adhy Pratama, Jaeni Jaeni, and Sukmawati Saleh. "REDEFINISI TEATER ABSURD BERDASARKAN TEORI PARABOLIC DRAMA MICHAEL Y. BENNETH." Jurnal Cerano Seni : Pengkajian dan Penciptaan Seni Pertunjukan 2, no. 1 (2023): 1–9. http://dx.doi.org/10.22437/jcs.v2i1.26338.

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Penelitian ini bertujuan untuk meredefinisikan teater absurd yang didasari pada pandangan Martin Esslin dalam buku yang berjudul The Theatre of The Absurd (1961). Tujuan dari penelitian ini adalah menawarkan tafsir alternatif di tengah polemik tentang terminologi teater absurd. Objek formal yang digunakan dalam penelitian ini adalah teori Parabolic Drama Michael Y. Benneth. Metode penelitian yang digunakan adalah metode kualitatif dengan pendekatan deskriptif-analitik. Kesimpulan yang dihasilkan dari penelitian ini adalah reinterpretasi absurdisme Camus dan Ionesco dapat memberikan perpektif b

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16

Bukeir, Dr Abdulla A. "Pinter's Drama of the Absurd And the Theme of Isolation and Loneliness." مجلة جامعة الملكة أروى العلمية المحكمة 1, no. 7 (2011): 27. http://dx.doi.org/10.58963/qausrj.v1i7.44.

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The prime objective of this research is to study the theme of isolation and loneliness in Pinter's Landscape and Silence ; supposing that these two plays typify Pinter's drama of the Absurd , and the theme of isolation and loneliness.The research surveys briefly the philosophy of Existentialism as a basic ground for the intellectual phase of the Theatre of the Absurd.The analysis of these two plays shows apparently the essential features of the Theatre of the Absurd both in form and content. It also elucidates how the theme of isolation and loneliness is treated by Pinter in a very skillful dr

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17

Asmaa Mokaram Saeed. "Realistic and Absurd Dramatic Setting: A Comparative Study." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 62, no. 3 (2015): 309–22. http://dx.doi.org/10.36473/ujhss.v62i3.2168.

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Dramatic setting in any work of art assumes its significance, especially in drama and all other forms of narrative, telling of the occurrence of an action in relation to themes and characters. The importance of setting lies in the fact that it is always to accompany actions: no setting means no action. Setting is the sole dramatic ingredient among all others which cannot be overlooked by any dramatist or a story teller. For any action or any event—realistic, absurd and otherwise—there must be representations of a place and time—setting—so that full understanding can be attained by the reader o

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18

Nwahunanya, Chinyere. "Nigerian drama and the theatre of the absurd." Neohelicon 21, no. 2 (1994): 169–89. http://dx.doi.org/10.1007/bf02093250.

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Kálmán, György C. "The rise of the absurd (?) in Hungarian drama." Neohelicon 13, no. 1 (1986): 163–76. http://dx.doi.org/10.1007/bf02118119.

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20

Zhilichev, P. E. "Absurdist Drama and Its Academical Reception in Russian and Western Literary Criticism." Bulletin of Kemerovo State University 24, no. 5 (2022): 626–34. http://dx.doi.org/10.21603/2078-8975-2022-24-5-626-634.

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This paper attempts to identify and systematize the main approaches to the theater of absurd and absurdist drama in Western and Russian literary studies. The term theater of the absurd was originally introduced by Martin Esslin. This concept has become a common denominator and refers to the dramatic work of such famous authors as Samuel Beckett, Eugène Ionesco, Harold Pinter, Arthur Adamov, and Jean Genet. Martin Esslin and his followers brought in several important features into the absurdist drama, i.e., alogism, disjointed communication, wordplay (Patrice Pavis), etc. They attempted to conc

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Savorgnani, Maja. "Drama absurda kot izvor komedij Dušana Jovanovića." Jezik in slovstvo 51, no. 5 (2024): 3–13. http://dx.doi.org/10.4312/jis.51.5.3-13.

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The article analyses four comedies by Dušan Jovanović: Znamke, nakar še Emilija (Stamps, and then Emilija, 1969), Življenje podeželskih plejbojev po drugi svetovni vojni ali tuje hočemo – svojega na damo (The Life of a Provincial Playboy after the Second World War or We Want What’s Foreign and Won’t Give Away What’s Ours, 1972), Viktor ali Dan mladosti (Victor or Youth Day, 1989) and Klinika Kozarcky (Kozarcky Clinic, 1999). The analysis focuses on the correlation between comedy and the theatre of the absurd, as this dramatic convention played a decisive role in a considerable part of his writ

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Laughlin, Karen L., Enoch Brater, and Ruby Cohn. "Around the Absurd: Essays on Modern and Postmodern Drama." Theatre Journal 45, no. 1 (1993): 127. http://dx.doi.org/10.2307/3208600.

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Ellison, John, Halina Stephan, and Slawomir Mrozek. "Transcending the Absurd: Drama and Prose of Slawomir Mrozek." Slavic and East European Journal 43, no. 4 (1999): 701. http://dx.doi.org/10.2307/309420.

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Karim, Mohammad Rezaul. "INFLUENCE OF ABSURD THEATRICAL TRADITION IN MODERN ASSAMESE DRAMA: A COMPARATIVE STUDY WITH REFERENCE TO THE PLAYS OF ARUN SHARMA." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 7, no. 1 (2023): 186–93. http://dx.doi.org/10.30743/ll.v7i1.7000.

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The contemporary Assamese plays have developed as a result of numerous interwoven influences and channels. And it is clear that western influences were what shaped the Assamese and played into their perfection. After independence, Assamese writers of prose, poetry, and theatre, produced works that were on pace with the period. It demonstrated identical compositional experimentation and sociological analysis. The Assamese plays exhibit a strong western heritage from playwrights like Ibsen, Shaw, Beckett, and other absurd dramatists. A few dramatists, like Dr. Arun Sarma, Ratna Ojha, and Himendr

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Караева, Феруза Қурбоновна. "THE SADLY TASTE OF THINKING (About the Theater of the Absurd)." INTERNATIONAL CONFERENCE ON INTERDISCIPLINARY SCIENCE 4, no. 12 (2024): 447–51. https://doi.org/10.5281/zenodo.14514451.

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In this article, the concepts of absurd drama, absurd theater, are the conditional name of the current in dramaturgy. In the 50s and 60s of the last century, proponents of the movement argued that human life was meaningless and abstract. According to them, man cannot even understand why he is living. He is constantly talking about being a victim of false duty, false morals, false relationships.

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Chepkwony, Kipkoech Mark. "The Philosophy of Dissimilation, Meaninglessness and Isolation in Theatre of the Absurd: Evidence from John Ruganda’s Two Plays." East African Journal of Education Studies 5, no. 1 (2022): 77–84. http://dx.doi.org/10.37284/eajes.5.1.563.

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Drama and theatrical performance remain one of the most effective ways through which life’s reality can be experienced, described, perceived and portrayed. Absurd drama has come to be seen as one of the most modern literary movements that have been adopted by African playwrights, Ruganda included. Based on a study of plays by Ugandan playwright John Ruganda, this paper discusses the philosophy of dissimilation, meaninglessness and isolation in theatre of the absurd. The study used Ruganda’s two plays, namely The Floods and Shreds of Tenderness. The various modes through which absurd drama appe

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Myropolska, E. V. "THE DRAMA SEARCHES ON THE FIELDS OF THE "PHILOSOPHY OF THE ABSURD": THE EXPERIENCE OF MODERN UNDERSTANDING." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 64–68. http://dx.doi.org/10.17721/ucs.2020.1(6).14.

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The article reflects the logics of the development of the "philosophy of absurd" – a term of intellectual tradition connected with attributive characteristic of reference between a man and surrounding world. The best productive ideas of the "philosophy of absurd" – non- conformism,resistance to the imposition of other people's thoughts, revolt, freedomand some others have been described.The "philosophy of absurd" is aphilosophical conception which examines a man in the context of his inevitable relations with the world which is sencseless and unfriendly to human individuality, in the result of

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Jia, Yizhen. "On the Artistic Characteristics of Meng Jinghui's The Murder of Hanging Garden." Communications in Humanities Research 2, no. 1 (2023): 362–67. http://dx.doi.org/10.54254/2753-7064/2/2022393.

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"The Murder of Hanging Garden" is Meng Jinghui's first rock musical. The play connects three absurd and tender stories through a shocking and absurd "murder". In this paper, "The Murder of Hanging Garden" as the main research object, from the avant-garde drama characteristics, artistic expression, dance structure and the use of rock music, to explore the artistic characteristics of "The Murder of Hanging Garden".

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SCHAPIRA, C. "VOLTAIRE'S WRITINGS AS A POSSIBLE SOURCE OF IONESCO'S ABSURD DRAMA." French Studies Bulletin 8, no. 28 (1988): 12–14. http://dx.doi.org/10.1093/frebul/8.28.12.

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Anuradha, S., and Kumar R.Udhya. "Manipulation of Nonsense to Bring Sense: The Pinter Technique." International Journal of Engineering and Advanced Technology (IJEAT) 9, no. 3 (2019): 96–98. https://doi.org/10.35940/ijeat.B3552.129219.

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Harold Pinter, the Nobel laureate, is a literary giant of modern drama in English. His plays are categorized as belonging to the absurd theatre along with the likes of Beckett. The absurd theatre makes use of language in a peculiar way to communicate the real predicament of human existence. Harold Pinter, as a chief exponent of the Absurd Theatre made a significant stamp on the theatrical language. His style is so unique that it led to the coinage of the word ‘Pinteresque’. The speeches in his plays are an interplay of both sense and nonsense. This article aims to analyze the langu

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Orel, Barbara. "Zupanova vizija razvojnih smernic v dramatiki in gledališču." Jezik in slovstvo 60, no. 1 (2024): 43–52. http://dx.doi.org/10.4312/jis.60.1.43-52.

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Vitomil Zupan’s Sholion (1973), a collection of theatre essays, reflects on the state of drama and theatre in the early 1970s and outlines the way he anticipates them developing. In his vision of future developmental trends, Zupan sees drama and theatre as the syntheses of several theatre genres: the theatre of the absurd, total theatre and so-called “realistic” theatre, as he himself terms it. Zupan uses this term to denote various approaches to performing that are the opposite to theatre of the absurd and entail elements of social criticism, grotesque, comedy, satire, real situations and pro

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Sari, Yulia, and Amelia Yuli Astuti. "An Analysis of Ten Symbol of Grandma Death as Reflected in The Edward Albee Sandbox." Jurnal Ilmiah Pendidikan Scholastic 3, no. 2 (2019): 56–68. http://dx.doi.org/10.36057/jips.v3i2.371.

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This research is entitled An Analysis of Ten Symbol of Grandma's Death As Reflected In The Edward Albee Sandbox. Where in the short story the 85-year-old grandmother who had been left by her husband and after the death of her husband the grandmother fought alone to support her child `namely mommys. But the child that grandmother hoped didn't care about him. Mommy treats grandma very inhumanely. He put my grandmother under the kitchen and only had a thin blanket and used potluck utensils. Then mommy took grandma to a place and put her in a sandbox where I interpreted this as the last time for g

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Dong, Jun, and Kamal Sabran. "The formation system of film and television language based on drama conflict and misplacement." Advances in Education, Humanities and Social Science Research 7, no. 1 (2023): 385. http://dx.doi.org/10.56028/aehssr.7.1.385.2023.

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Dislocation conflict is an extremely important way and technique of expression in drama art through the construction of differentiated dislocation of personal image, social identity and emotional cognition. It intensifies the contradiction between the relationship between the characters and the narrative conflict of the drama, creates the dramatic tension, and further produces the abrupt beauty, all of which contribute to the generation of dramatic discourse. After vivid representations of dislocation and dramatic conflict, absurd stories often develop. These absurd narratives are motivated no

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Aji, Wahyu Seno, and Anna Sriastuti. "Remembering Baraka’s Dutchman: A Comparative Study of Absurd Dramaturgy on the Racial Absurdity." Rubikon : Journal of Transnational American Studies 10, no. 1 (2023): 65. http://dx.doi.org/10.22146/rubikon.v10i1.82858.

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Dutchman belongs to Afro-American Drama. In its portraying of racial problem, Dutchman is different from other black American plays as it has largely moved to the abstract and symbolic form. While Dutchman strongly indicates segregation and a kind of open conflict with the white society, many others black literature largely focus on Black Society or family’s internal conflicts. Goes along with its abstract presentation, Dutchman tends to represent the general and ‘eternal’ blacks rather than the blacks framed in social institution such as family, job, and others. Despite common accepted classi

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Nikolaieva, Oksana. "INTERPRETATION OF THE MYSTERY GENRE IN THE PLAY “ELECTRIC TRAIN FOR EASTER” BY OLEKSANDR IRVANETS." Слово і Час, no. 3 (June 20, 2022): 78–87. http://dx.doi.org/10.33608/0236-1477.2022.03.78-87.

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The paper focuses on the innovative reception of the archaic genre of mystery in the works by Oleksandr Irvanets. Based on the play “Th e Electric Train for Easter”, the researcher explores literary techniques that allow creatively transforming the gospel plot of Christ’s passions within the structure of modern drama. Special authorial interpretation of the mysterious matrix is studied in the context of complex tendencies that characterize the development of modern drama (actualization of mythological thinking, genre interaction, combination of styles). A number of modern researchers’ works gi

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Chepkwony, Kipkoech Mark. "Crisis, Cruelty and Absurdism in John Ruganda’s The Floods and Shreds of Tenderness." East African Journal of Education Studies 6, no. 3 (2023): 450–59. http://dx.doi.org/10.37284/eajes.6.3.1591.

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John Ruganda is categorized as an African writer whose writing is marked by the expression of post-independence disillusionment and the transference of anger and blame from foreign to indigenous leaders, yet he has received very little critical attention as an artist. The study examined the aesthetics of the absurd drama in John Ruganda’s plays. The rationale for the study gestures to the need to study Ruganda’s dramatic texts as representative of a historical, cultural and social trajectory through the less studied body of drama. This study discusses the state of social and psychological cris

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Asst. Prof. Hadeel Aziz Mohammed Ridha, (Ph.D.) * and Prof Salih M. Hameed (Ph.D.). "Re-entering the Absurd in the Twenty First Century: A Study in Richard Nelson's Pandemic Trilogy The Apple Family." International Journal for Humanities & Social Sciences (IJHS), no. 1 (June 30, 2023): 6–13. http://dx.doi.org/10.69792/ijhs.23.1.2.

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Since the Middle Ages, drama has started as a simple wagon in the market-place with unprofessional actors who acted occasionally to serve religion\the Church. By later centuries, dramatic actions steadily developed; and their growing popularity encouraged the construction of theatre buildings to host the increasing numbers of the audiences. Hence the simple facts about drama have therefore been settled: no audience or drama student can ever imagine these facts would ever change, until Covid-19 has unexpectedly undermined the drama simple facts as well as radically changed that. Concerning thea

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Kang, Jun Soo, and Young Min Song. "A Study on the Performance and Play Events through Absurd Techniques: Focusing on Absurd Dance Drama “Dos A Deux”." Journal & Article Management System 42 (May 31, 2021): 79–99. http://dx.doi.org/10.31927/asec.17.2.5.

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Räthel, Clemens. "Somewhere between Malmö and Copenhagen: Inter-spaces in Marius Ivaškevičius’ play Close City." Folia Scandinavica Posnaniensia 34 (December 29, 2023): 108–20. http://dx.doi.org/10.14746/fsp-2023.34.08.

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In the drama Close City, first published in 2005, Lithuanian playwright Marius Ivaškevičius focuses on the (im)possible connections between Malmö and Copenhagen. The initially realistic setting of a failing marriage in the spirit of August Strindberg and Ingmar Bergman evolves gradually into an absurd spectacle that explores spatial and intertextual interstices. This article investigates how the drama, as a scenic kaleidoscope, elaborates on the influence of imagined geographies in the Baltic Sea region, discusses (gendered) power relations, and questions Scandinavian exceptionalism.

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Ine Patmawati, Euis Winda Nengsih, and Fatin Salsa Nabila. "Unsur Intrinsik Dalam Naskah Drama “Trik“ Karya Putu Wijaya." Jurnal Kajian Penelitian Pendidikan dan Kebudayaan 2, no. 4 (2024): 113–18. https://doi.org/10.59031/jkppk.v2i4.558.

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Putu Wijaya's Trik Drama is one of the representations of the absurd theater style that developed in Indonesia. This work depicts a critique of social, political, and cultural conditions, where life is often full of manipulation, falsehood, and power play. As a prolific writer, Putu Wijaya uses this script to highlight the complexity of human life in the face of a reality that is full of uncertainty and conflict. In the context of history and culture, Trik emerged as a response to the social situation in Indonesia which was full of power dynamics and manipulation during the New Order period. T

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Osameka Oyindamola Mercy and Eze Mabel Nkechinyere. "The Influence of Western Drama on Contemporary African Drama." International Journal of Sustainable Applied Sciences 2, no. 3 (2024): 185–98. http://dx.doi.org/10.59890/ijsas.v2i3.1481.

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African drama is generally believed to find its roots in the tradition and culture of the African society such as the celebration of the new yam festival (festivity) the display of masquerade, religious rituals, and the moonlight story (storytelling) therefore, African drama has been in existence before the emergence of the colonialism, African drama existed in form of action, through music and dance that was ritualized to express emotions such as terror, passion, and love. These actions were imitations of what the people wanted to happen so if they wanted to kill an enemy they would act out t

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Jensterle-Doležal, Alenka. "In the Realm of Politics, Nonsense, and the Absurd." Keria: Studia Latina et Graeca 20, no. 3 (2018): 95–108. http://dx.doi.org/10.4312/keria.20.3.95-108.

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The myth of Antigone remained relevant in the twentieth century, and new plays inspired by this myth appeared not only in the West but also in Slavonic drama during and after WW2. Oppressed societies, abuses of power, persecution and execution of political and ideological opponents create a fertile ground for a creative return to the Sophoclean tragedy. Some of the new plays have roots in the trauma of WW2, others in post-war Soviet domination. Significantly, these plays attach growing importance to the character of Creon. Among the discussed playwrights are two Serbs, Jovan Hristić and Oto Bi

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Kroca, David. "Poetics of Names of Drama Characters in Czech Theatre of the Absurd." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 45 (February 1, 2017): 186–92. http://dx.doi.org/10.17223/19986645/45/13.

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YILMAZ KUTLAY, Sevcan. "Translation Challenges of Absurd Drama: Harold Pinters A Slight Ache in Turkis." Researcher Social Science Studies 5, no. 10 (2017): 342–54. http://dx.doi.org/10.18301/rss.345.

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Park, Kun-Soo. "Studies of the Non-Realistic Acting in Absurd Drama 'Fando et Lis'." Journal of the Korea Contents Association 14, no. 4 (2014): 78–85. http://dx.doi.org/10.5392/jkca.2014.14.04.078.

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Kolk, Mieke. "Topographies of Desire. Recent Egyptian Drama and the Strategies of the Absurd." Documenta 23, no. 3 (2019): 253–61. http://dx.doi.org/10.21825/doc.v23i3.10373.

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Starkey, Kenneth, Sue Tempest, and Silvia Cinque. "Management education and the theatre of the absurd." Management Learning 50, no. 5 (2019): 591–606. http://dx.doi.org/10.1177/1350507619875894.

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In this article, we recommend the drama of theatre of the absurd as a novel space for critically reflecting upon management and management education as shaped by the forces of emotion, irrationality and conformism rather than reason. We discuss the theatre of the absurd as uniquely relevant to understanding our troubled times. We present a brief overview of the history of business schools and management education. We apply the idea of absurdity to the world of business schools and management education, focusing on the work of one of the theatre of the absurd’s leading proponents, Eugène Ionesc

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Barna, Léna. "Lombikvilágba zárt morális dilemmák : Virág Mihály: Áfonyák, 1969." Theatron 18, no. 1 (2024): 21–28. http://dx.doi.org/10.55502/the.2024.1.21.

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In the post-World War II Vojvodina region, an outstanding piece of Hungarian drama appeared. Ferenc Deák’s play “Áfonyák” (Blueberries) has its significance in Hungarian literature, and later, when Mihály Virág directed it, the play became a milestone, surpassing many theatrical conventions and charting new directions in the theatre scene of Jugoslavia. The three-act verse drama of Deák addresses contemporary issues and complex moral and ethical questions, all with religious undertones. The Subotica National Theatre underwent a renewal and turned towards new trends; absurd plays appeared on th

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Virchenko, Tetiana, and Roman Kozlov. "Ukrainian Intellectual Drama of the 2000s." Revista Amazonia Investiga 10, no. 38 (2021): 39–50. http://dx.doi.org/10.34069/ai/2021.38.02.4.

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In spite of the presence in contemporary scientific works, the terms ‘intellectual drama’ and ‘intellectual theater’ have blurred boundaries. The aim of the article is to identify productive genres and methods of intellectualization in Ukrainian drama of the 2000s. The category of genre was taken as the basis for material structuring. Genre analysis is combined with a poetics analysis of a literary work and an analysis of theatrical techniques that promote intellectualization. Regardless of the genre determined by a writer for a work, no matter what generation an author identifies himself with

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Ahmad, Mas Rynna Wati. "Closure: An Appropriated Technique in Malay Absurd Plays." Malay Literature 28, no. 2 (2015): 200–217. http://dx.doi.org/10.37052/ml.28(2)no2.

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The period of experimental theatre in the 1970s had brought a significant change in the history of modern Malay theatre. The plays that were produced and staged during this era had been categorized as absurd plays as they contained strong tendencies towards the application of the absurd theatre techniques. The most significant features of Western absurd plays would be that the play would end the way it begins; this cycle emphasizes the meaninglessness of life portrayed by the absurd playwrights. However, the scenario in Malaysia is different. Sensitive to the social and religious background of

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