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Journal articles on the topic 'The Theatre of the Absurd'

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Published: 4 June 2021
Last updated: 25 April 2022

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1

Marrow, Joanne. "Theatre of the Absurd." Women's Review of Books 13, no. 5 (February 1996): 32. http://dx.doi.org/10.2307/4022296.

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2

Velmani, N. "Howard Brenton’s Transmutation from Political Theatre to Absurd Theatre." Journal of English Language and Literature 1, no. 3 (June 30, 2014): 61–64. http://dx.doi.org/10.17722/jell.v1i3.19.

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Of all the contemporary dramatists, Howard Brenton is surely the most prolific, marked by breadth and variety,his plays mainly tackling moments of great political upheavals of the time. Many of his plays are turned out at speed as quickresponses to events in public life. Brenton, as a man of political conviction, exposes contemporary consciousness. The theatreserves as a platform for his political revolt expressive of disillusionment at the failure of socialism. Following the trend ofBrechtian Epic Theatre, Brenton used the basic principles in matters of setting, characterization, empathy and dramaticstructure and the techniques of socialist realism creating a fable with characters capable of change showing the light ofdawn in the darkest night. He evolved a large-scale ‘epic’ theatre dealing in complex political issues, an attempt to constitutea British Epic theatre. Since 1965, Brenton committed himself to a career as a playwright with his first play Ladder of Foolstill the recent play Drawing the Line (2013), he has widely moved through different phases of his career as a politicaldramatist with the portrayal of England in terms of a violent political landscape. But of late, there is transmutation frompolitical theatre to absurd theatre. In his recent play Drawing the Line Brenton faces an epic task himself in distilling theturmoil of India-Pakistan partition into two hours on stage. He makes the audience realize the absurdity of decisions made bythe intelligent principled political leaders that end up in tumultuous violence and conflicting demands.
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3

Velmani, N. "Howard Brenton’s Transmutation from Political Theatre to Absurd Theatre." Journal of English Language and Literature 1, no. 3 (June 1, 2014): 61. http://dx.doi.org/10.17722/jell.v1i3.42.

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4

Taraki, Lisa. "Occupation: a theatre of the absurd." Holy Land Studies 4, no. 1 (May 2005): 93–94. http://dx.doi.org/10.3366/hls.2005.4.1.93.

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5

Hashamova, Yana. "The Socialist Absurd, the Absurd, and the Post-Absurd—A Syndrome of Contemporary Bulgarian Theatre." Canadian Slavonic Papers 36, no. 3-4 (September 1994): 439–48. http://dx.doi.org/10.1080/00085006.1994.11092066.

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6

Ahmad, Mas Rynna Wati. "Closure: An Appropriated Technique in Malay Absurd Plays." Malay Literature 28, no. 2 (December 1, 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 the Malays, these playwrights made adjustments to the typical absurd techniques common practised in the West. As opposed an ambivalent and dark end of the plays, Malay absurd playwrights tend to present a sense of hope through the closures presented at the end of the plays. Hence the theatre scholar, Solehah (1990) termed this as theatre absurd “ala” Malaysia as a way to characterize the unique version of the plays. This paper intends to delve further into the method of closure used by the playwrights such as Dinsman in his play, It is Not a Suicide and the late Anuar Nor Arai’s play, Vacuum . The closures in the two plays are perceived as bringing a ray of light for the Malay absurd plays from being dark and inappropriate in the history modern Malay theatre into today’s popular eclectic mainstream that marked the end of the period of realistic plays. Keywords: absurd plays, closure technique, modern Malay drama, hope and realistic plays Abstrak Zaman teater eksperimental pada tahun 1970-an telah membawa satu perubahan besar dalam perkembangan teater Melayu moden. Teater yang dihasilkan pada era ekperimental bersifat absurd kerana pendekatan dan percubaannya yang cenderung ke arah falsafah absurd dari Barat. Teknik yang paling ketara dalam teater berbentuk ini ialah pengakhiran cerita berlaku seperti permulaan cerita yang menunjukkan kehidupan yang tiada makna. Namun demikian, teknik ini didapati tiada dalam teater Melayu beraliran absurd. Bersesuaian dengan masyarakat tempatan yang masih lagi kukuh berpegang kepada agama dan budaya, beberapa penulis telah melakukan pengubahsuaian dalam penghasilan karya teater mereka. Berbanding dengan teknik biasa dari Barat, iaitu tiada pengakhiran kepada setiap konflik yang diutarakan, teater absurd tempatan telah melakukan sebaliknya. Teater absurd Melayu memberikan harapan kepada persoalan yang diletakkan dalam plot cerita. Oleh yang demikian menurut Solehah (1970) teater absurd “ala” Malaysia mempunyai bentuk dan kelas yang tersendiri. Makalah ini akan memfokuskan kaedah yang digunakan oleh dua penulis teater, iaitu Dinsman, dalam Bukan Bunuh Diri dan Vakuum karya allahyarham Anuar Nor Arai. Pengakhiran cerita yang diberikan oleh penulis ini memberikan harapan kepada teater absurd Melayu yang tidak mendukung unsur pesimis dan putus harapan. Bentuk baharu ini, menunjukkan berakhirlah zaman teater realistik dalam tradisi teater Melayu moden. Kata kunci: teater absurd, teknik pengakhiran, teater Melayu Moden, harapan dan teater realistik
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7

Chen, Chang. "Revisiting the Absurd: Posthuman Affects in Samuel Beckett’s Theatre." New Theatre Quarterly 37, no. 4 (November 2021): 323–37. http://dx.doi.org/10.1017/s0266464x21000269.

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The ‘Theatre of the Absurd’, the popular label for Samuel Beckett’s theatre, has been challenged over the past decades before its implications were fully explored. This article reconsiders the ‘absurd’ with respect to Beckett and the human/nonhuman relations in the Anthropocene. It draws upon affect theory and posthumanism, arguing that the absurd in Beckett’s theatre takes root in the theatricalization of posthuman affects, which connect the human body and the non-human world. Posthuman affects subvert human sovereignty and disintegrate humans into nothingness. Yet they also give birth to a different cosmic ontology, which involves a call for change in the relationship between the human and the nonhuman. Revisited from the perspective of posthuman affect, the absurd in Beckett’s theatre acquires new complexities that bring glimmering possibilities of endurance and comfort in the face of catastrophe. Chen Chang is an assistant researcher of the English Department at Nanjing University, where she recently completed her PhD dissertation on Beckett and the posthuman body. She has published several articles on Beckett as well as in gender studies.
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8

Cumbie-Jones, Claudia. "Computer animation and theatre of the absurd." ACM SIGGRAPH Computer Graphics 31, no. 2 (May 1997): 12–13. http://dx.doi.org/10.1145/271283.271287.

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9

Jones, Julian. "Stanislavski and The Theatre of The Absurd." Stanislavski Studies 8, no. 2 (July 2, 2020): 247–64. http://dx.doi.org/10.1080/20567790.2020.1814554.

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10

Goldstein, Darra. "Russian Dining: Theatre of the Gastronomic Absurd." Performance Research 4, no. 1 (January 1999): 56–63. http://dx.doi.org/10.1080/13528165.1999.10871643.

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11

Starkey, Kenneth, Sue Tempest, and Silvia Cinque. "Management education and the theatre of the absurd." Management Learning 50, no. 5 (October 22, 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 Ionesco. We emphasise the importance of fiction and fantasy as key aspects of organisation and education. We contribute to debates about management education by reflecting on possible futures for management education and the business school, embracing the humanities as a core disciplinary focus. We suggest that this will help rebalance management education, retaining the best of the existing curriculum, while re-situating the study of management in its broader historical and philosophical nexus.
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Bashir, Lika mohamed. "El Teatro absurdo es un espejo de la realidad." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 214, no. 2 (November 11, 2018): 85–104. http://dx.doi.org/10.36473/ujhss.v214i2.634.

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The Theatre of the Absurd is a trend in which many were written plays of certain US and European playwrights during the 1940s, 1950s and 1960s, in general, which arose from the work of those. It is characterized by frames that seem meaningless, repetitive dialogue and lack of dramatic sequence that often create a dreamlike atmosphere. The theater of the absurd has strong existentialist traits and questions the society and the man. Through humor and mythologizing hiding a fussy attitude toward his art. The inconsistency and illogical nonsense are also very representative features of these works.
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13

Esslin, Martin. "Mrozek, Beckett, and the Theatre of the Absurd." New Theatre Quarterly 10, no. 40 (November 1994): 377–81. http://dx.doi.org/10.1017/s0266464x00000932.

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Jan Kott belongs to that outstanding group of Polish writers and intellectuals who stand as living proof of the immense talent and genius of their generation which triumphantly emerged from the Nazis' attempts to annihilate the Polish nation, not only physically but culturally as well. He is the embodiment of all the best qualities of the great tradition of Central European men of letters: intellectuals of universal erudition, critical insight, deep humanity, combined with a divine sense of humour – a worthy peer of giants like Kantor, Milosz, and Mrozek.
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14

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

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15

Myers, Robert, and Nada Saab. "Revolutionary Theatre of the Absurd from the Arab World." PAJ: A Journal of Performance and Art 37, no. 1 (January 2015): 94–96. http://dx.doi.org/10.1162/pajj_a_00249.

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16

Dubrovina, Svetlana N. "Monodrama at the Theatre of Samuel Beckett and At the Theatre of the Absurd." Sibirskiy filologicheskiy zhurnal, no. 4 (December 1, 2010): 102–8. http://dx.doi.org/10.17223/18137083/33/14.

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17

Saad, Haider Luaibi, and Fouad Abbas Ali. "Tragic elements in absurd theater." International Journal of Psychosocial Rehabilitation 24, no. 03 (February 28, 2020): 90–102. http://dx.doi.org/10.37200/ijpr/v24i3/pr200760.

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18

Hussein Sagheer, Safaa, and Mehdi Abbass Mohsin. "The Tragic Sense in The Theatre of The Absurd: The Case of Pinter's Birthday Party." Journal of Education College Wasit University 2, no. 45 (December 21, 2021): 531–46. http://dx.doi.org/10.31185/eduj.vol2.iss45.2311.

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Abstract Absurdity is one of the prominent philosophy associated with the emergence of modernist and postmodernist movement in literary text. In such texts, we notice that the embedded themes and ideas reflect the dilemma and the suffering of modern man. The purpose of this paper is an attempt to clarify the subtle feeling associates with the appearance of modernist and postmodernist movements, discussing the ideas of absurdity and absolutism. Also, it gives an idea about the sense of sickness associates with the anomalies of the human conduct on the projected scene such as a universe of meta--identity, named the hilarious theater. This type of theatre is commonly known as absurd theater as discovered by Martin Julius Esslin (1918-2002), who created this phrase to explain Meta identity has been substantially reinterpreted through an exterior identity mask, which invigorates one of the postmodern ideological conceptions of the enormous humanity. The paper consists of three sections: the first is an introduction to Pinter's Birthday Party. The second section discusses the concept of absurdity and the reason of its emergence. The third section deals with how absurd themes reflect the pain, the sense of loss and void that modern man experiences amid the chaotic world specifically after WWII. Finally, the study ends up with conclusion and recommendations for further studies
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19

Porter, James I. "Theater of the Absurd." American Catholic Philosophical Quarterly 84, no. 2 (2010): 313–36. http://dx.doi.org/10.5840/acpq201084224.

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20

Allen-Paisant, Jason. "Penser et jouer l'absurde dans le théâtre haïtien: Corps, mémoire, possession." International Journal of Francophone Studies 22, no. 3 (December 1, 2019): 251–69. http://dx.doi.org/10.1386/ijfs_00004_1.

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Abstract This article offers a critical reading of Chemin de fer, a play written by Congolese author Julian Mabiala Bissila and directed by Haitian director Miracson Saint-Val as part of the Quatre Chemins Theatre Festival in Haiti in 2017. It discusses the uses and meanings of the absurd in both the text and the performance, showing its links to the theme of violence as this relates to the Congolese Civil War, the immediate context of the play. The article also shows how Haitian director and actor Miracson Saint-Val grounds his performance in Vodou, using the theory of "ethnodrama" developed by the ethno-psychiatrist Louis Mars. This approach enables us to see how the play lends itself to the juxtaposition of several historical realities, and the possible resonances between the Congolese Civil War and Haitian history and contemporary reality. All of this raises an important question which this paper tries to answer: can we speak of a 'theatre of the absurd' in the context of colonialism, one in which the absurd, the tragic and ritual performance are necessarily intertwined?
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D'aponte, Mimi Gisolfi. "Review: Pier Paolo Pasolini and the Theatre of the Word: Ezio d'Errico's Theater of the Absurd." Forum Italicum: A Journal of Italian Studies 26, no. 2 (September 1992): 414–16. http://dx.doi.org/10.1177/001458589202600218.

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22

Verbivska, H. O. "THE EXPERIENCE OF ABSURDITY: EXISTENTIALISTIC PARADIGM AND PARADIGM OF THEATRE OF THE ABSURD (WITH REGARD TO SAMUEL BECKET'S PLAY 'NOT I')." UKRAINIAN CULTURAL STUDIES, no. 1 (8) (2021): 37–40. http://dx.doi.org/10.17721/ucs.2021.1(8).08.

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This article circles around the phenomenon of absurdity and absurd which appears to be greatly elaborated by Albert Camus and Theatre of the Absurd. The article reflects mainly upon Becket's dramatic monologue "Not I", which might be characterized as a sort of missing link between two forms of absurd. The style of Albert Camus puts emphasis on the inner experience extrapolated by means of the author. In this sense, the feeling of despair and existential crisis, typical for existentialism in general, brings into existence the absurdity of being as such. In comparison with that, the manner, in which Theatre of the Absurd presents current states of things, organizes the comic dimension of a given situation. To put it another way, Theatre of the Absurd sets up living intersubjectivity, which is a sense-formative precondition of the laughter, and dynamic omnipresence of the inner experience literally declared on the scene. Becket's "Not I" deploys, on the one hand, the existentialistic understanding of human beings, and, on the other, the theatrical representation injected with intersubjectivity. The article takes into account Deleuzian approach towards cinematography in order to conceptualize Becket's play. The notion of affection-image, which is taken from Deleuze, illustrates the structure and essentially the nature of images taking place in "Not I". Becket draws special attention to the image of the voice with regard to audial metaphors, which the main heroine uses during all the time of self-enunciation. Behind the words that she speaks there is an implicit trauma, which is unknown to the contemplators of the performance. It is noteworthy to admit that the organization of the play makes visible only the mouth of the heroine whereas everything remains in the shadows. Deleuzian affection-image deals with annihilated spatial-temporal coordinates and absolutization of the face (faceification). The quality of metaphors in the monologue and the decoration of space establish the phenomenon of absurdity in Becket's "Not I".
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Zalokar, Polonca. "Productions of Edward Albee's plays in Slovenia and the critics' response." Acta Neophilologica 42, no. 1-2 (December 30, 2009): 93–110. http://dx.doi.org/10.4312/an.42.1-2.93-110.

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The article focuses on Edward Albee's four plays belonging to the theatre of the absurd which have been performed in Slovene theatres so far. The author analyses Albee's The 'Zoo Story, which has been produced four times, his American Dream and A Delicate Balance, which have been performed only once, and Albee's most known work in Slovenia, Who's Afraid of Virginia Woolf?, which has been produced six times in Slovene theatres. The continuation of this article focuses on each of Albees above mentioned four plays including their production details, directors, actors, the comparison of critics' opinions and an estimation of how SIovene audiences accepted them according to the number of spectators and critics' responses.
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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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ZARHY-LEVO, YAEL. "Dramatists under a label: Martin Esslin’s The Theatre of the Absurd and Aleks Sierz’ In-Yer-Face Theatre." Studies in Theatre and Performance 31, no. 3 (October 6, 2011): 315–26. http://dx.doi.org/10.1386/stp.31.3.315_1.

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Susandro, Susandro, Afrizal H, Saaduddin Saaduddin, and Edy Suisno. "PARABOLIC DRAMA: PENYANGKALAN TEORETIK TERHADAP TEATER ABSURD." Melayu Arts and Performance Journal 3, no. 1 (April 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 supported by unstructured and abstract concepts. Therefore, it is necessary to develop an alternative, a term which he calls Parabolic Drama. A more structured term in understanding Waiting for Godot and other dramas that contain parallel philosophical values. This article tries to explain the dialectic of the two theater theories above, the extent to which they can bind one drama and encompass another drama. ABSTRAKWaiting for Godot karya Samuel Beckett merupakan salah satu drama yang disebut dengan istilah Teater Absurd oleh Martin Esslin. Lebih jauh, Bagi Esslin, Teater Absurd tidak hanya suatu istilah melainkan teori teater untuk mengetahui konvensi serta memahami makna suatu drama. Dengan begitu, Esslin menempatkan Teater Absurd ke dalam lintasan perkembangan gaya seni teater dunia, sekaligus menggiring pembaca atau penonton pada suatu persepsi bahwa kehidupan atau rutinitas yang dijalani manusia tidaklah bermakna, tidak ada tujuan dan sia-sia. Namun, Teater Absurd, menurut pandangan Michael Y. Bennett, istilah yang didukung oleh konsep-konsep yang tidak terstruktur serta abstrak. Oleh karena itu, perlu dibangun suatu alternatif,istilah yang disebutnya dengan Parabolic Drama.Istilah yang lebih terstruktur dalam memahami Waiting for Godotserta drama lain yang mengandung nilai filosofis yang sejajar.Artikel ini mencoba memaparkandialektika kedua teoriteater di atas,sejauh mana keduanya dapat mengikat suatu drama dan melingkupi drama lainnya.
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Jaya, Pratha R. "A Fusion of Horizons in Absurd Theatre – An Insight into Production and Reception." International Journal of English Literature and Social Sciences 5, no. 3 (2020): 749–51. http://dx.doi.org/10.22161/ijels.53.29.

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Cardullo, Robert. "Experimental theatre in the twentieth century: avant-gardism, the absurd, and the postmodern." Neohelicon 42, no. 1 (April 30, 2014): 341–58. http://dx.doi.org/10.1007/s11059-013-0215-8.

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29

Klein, Emily B. "A New Feminist Absurd?: Women’s Protest, Fury, and Futility in Contemporary American Theatre." Modern Drama 65, no. 1 (March 1, 2022): 24–51. http://dx.doi.org/10.3138/md-65-1-1187.

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Absurdism has long been associated with existentialist white male writers like the ones Martin Esslin analysed in The Theatre of the Absurd (1961), which coined the term that came to define a lasting dramatic genre. More recently, however, several female playwrights have begun to reinvent this movement with an uncanny brand of feminist absurdism in their intimate domestic tragicomedies. In this essay, a close reading of Sheila Callaghan’s Women Laughing Alone with Salad (2015) serves as a touchstone for analysing performances of ludic feminist futility in plays by diverse writers including Ruby Rae Spiegel, Jackie Sibblies Drury, Alice Birch, and others. In their festive moments of anti-structural and non-linear oscillation between rage and glee, these plays mark the messy implosion of an outdated feminist political project, first anticipating and later reflecting the political tensions and crises evidenced in women’s voting, activism, and protest practices since the 2016 US presidential election. Often confining their characters within domestic or interior feminized spaces like kitchens, bedrooms, hidden supermarket aisles, or girls’ locker rooms, these playwrights celebrate failure and madness in the lives and labour of their female characters. By transforming historically feminized sites into dynamic spaces of resistance as well as spectacular failure, these performances of excess, from dieting to devouring, precarity to privilege, force audiences to confront cultural blind spots and failed or incomplete work toward efficacious feminist intersectionality. Furthermore, by bridging contemporary women’s anger research with whiteness and affect studies, this essay identifies a nascent trend in US theatre with a growing international profile that engages an updated absurdist rubric within a larger feminist praxis of political revolt.
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Rybińska, Krystyna. "The Absurd as a Representation: Towards a Hermeneutics of the Inexplicable (The Problematic Case of Godot)." Studia Anglica Posnaniensia 51, no. 4 (December 1, 2016): 67–86. http://dx.doi.org/10.1515/stap-2016-0020.

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Abstract This article attempts to re-signify the already extensively discussed conception of the absurd attributed to the aesthetic phenomenon presented by the so-called theatre of the absurd by critically reconsidering its paradigmatic work Waiting for Godot in relation to philosophical hermeneutics (Heidegger, Gadamer, Ricoeur). The fact that Beckett’s artistic method invalidates the transparency of the mirror-like relation between reality and art is known, and yet the potential theoretical consequences of such a literary revolution do not seem to have been exhausted - particularly in respect to the category of the absurd. Hence, the presented inquiry aims to view the phenomenon quite against its common conceptualizations derived from existentialist philosophy in order to indicate a possible route of exploring it from a hermeneutic perspective and thereby challenging, to some extent, Simon Critchley’s (2004: 165) famous assertion that Beckett’s oeuvre seems “uniquely resistant to philosophical interpretation”.
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Hilgar, Marie-France, and Deborah B. Gaensbauer. "The French Theater of the Absurd." Rocky Mountain Review of Language and Literature 46, no. 1/2 (1992): 74. http://dx.doi.org/10.2307/1347632.

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32

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 which "absurd consciousness" is bearing. The nuances of the "philosophy of absurd" in the art practices of the XX-th – the first two decades of the XXI-st centuries, especially absurd drama has been disclosed. Its typical signs are the absence of act's plays and time, the plot and composition are breaking, existentialist's mood of characters, absurd plot's situations, words' nonsense and so on. The heroes of the plays by S. Becket from the very beginning are solitude. But S. Becket developes ideas of "the philosophy of absurd", showing that if such people find faith, there is no strength that can break them. The main theme of S. Becket's creation is man's doom, his solitude. S.Becket became the most typical interpretator of the ideas of "the philosophy of absurd" in the drama, finding both simple and non-traditional methodsfor classic theatre aesthetics and new means of their incarnation.The playwright very exactly expressed such thought: progress's movement causes "progress" to all mankind reticence, alienation, closeness. One of the reasons of the negative perception of the world S. Becket calls a man's unrealizness and as a result – man's deformation. The consciousness wich is prepared by philosophical comprehension and scene "playing" absurd situations, helps a modern man worthly treat such situations in the real life, understanding that life occurs Hic et Nunc, we can't delay it for tomorrow.
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Cohen-Shalev, Amir, and Aviva Rapoport. "“The Play's the Thing”: Samuel Beckett's Midlife Transition and the Theatre of the Absurd." International Journal of Aging and Human Development 37, no. 2 (September 1993): 81–90. http://dx.doi.org/10.2190/eya6-rqgr-y2l9-yp5y.

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This article considers the question of shifts in artistic and literary style from a lifespan developmental perspective, focussing on changes during midlife. Using Samuel Beckett as an example, we demonstrate the relation between his abrupt shift to playwriting (and specifically to the Theatre of the Absurd) and his entrance into midlife. Abandoning the “counting the wrinkles” approach to mid-adulthood, we consider midlife change in terms of growth. We base our contention on theories of lifespan personality development that suggest parallels between the technical demands of dramatic art and the psychological needs of midlife.
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Uchman, Jadwiga. "The coexistence of the grotesque and politics – Tom Stoppard’s Squaring the Circle." Tekstualia 4, no. 39 (September 1, 2014): 79–92. http://dx.doi.org/10.5604/01.3001.0013.4526.

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The article discusses Tom Stoppard’s screenplay Squaring the Circle presenting Polish history between August 1980 and August 1982, that is the period of the strikes on the coast, the rise of the Free Independent Trade Union Solidarity and the introduction of the marshal law by general Wojciech Jaruzelski. Being aware of the fact that it is not possible to fully reconstruct the past, the artist uses a number of disclaimers – the Narrator who often claims that reality might have been slightly different, fi ve Witnesses, who often correct him, presentation of different versions of the same scene and numerous symbols (chess, card games, references to gangsters). While dealing with serious, political matters Stoppard employs the grotesque, a specifi c combination of th e tragic and the comic which is one of the characteristic features of postmodern literature and also of the theatre of the absurd. The article briefl y mentions the similarities in the use of grotesque in Stoppard’s screenplay and the political plays of Samuel Beckett, Harold Pinter and Sławomir Mrożek, the artists who are also often discussed as representatives of the theatre of the absurd.
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Howard, Tony, and Tomasz Łubienski. "The Theatres of Józef Szajna." New Theatre Quarterly 5, no. 19 (August 1989): 240–63. http://dx.doi.org/10.1017/s0266464x00003328.

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In the summer of 1988 two events focused British attention on the great Polish scenographer Józef Szajna: he participated in an ambitious seminar at the Young Vic on the legacy of the absurd, and in a BBC documentary on the art produced by holocaust victims and survivors. After the war, Szajna emerged as a central figure for Polish theatre and then for the international avant-garde. He became a stage designer, sculptor, director, environmental artist, manager, scenarist and teacher. In the 1970s, Szajna created his famous series of dramatic ‘open theatre’ spectacles inspired by the lives and art of Witkiewicz, Dante, Cervantes, Mayakovsky - and Szajna. For Józef Szajna's biography has been extraordinary, harrowing, and iconic. His work has questioned the functions of theatre after Auschwitz and Hiroshima. In his Warsaw flat-cum-studio and at the Studio Theatre, he surveyed forty years of work for New Theatre Quarterly, in conversation with the playwright Tomasz Lubienski - from a more literary theatrical tradition - and with Tony Howard, who here compiles a collage portrait of his career. The translations are by Barbara Plebanek.
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Nixon, Mark. "Beckett – Frisch – Dürrenmatt." Samuel Beckett Today / Aujourd'hui 22, no. 1 (October 1, 2010): 315–27. http://dx.doi.org/10.1163/18757405-022001022.

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This paper examines the way in which the two Swiss writers Max Frisch and Friedrich Dürrenmatt responded to Beckett's work. Both of these authors profoundly engaged with Beckett's dramatic and novelistic texts in their writings on theatre, and read him as being apart, rather than a part of, the Theatre of the Absurd. Frisch, in particular, was ostensibly interested in, and to a certain degree influenced by Beckett's work. At the same time, this essay charts Beckett's own reading of Frisch and his reactions on seeing his plays in performance. Finally, a shared emphasis on form and autographical writing is examined through a reading of Frisch's novel and Beckett's .
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Teampău, Radu. "Anti-theatre and Mythic Horizon." Theatrical Colloquia 7, no. 2 (December 1, 2017): 183–99. http://dx.doi.org/10.1515/tco-2017-0018.

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Abstract The present paper starts, in its analysis, with the attempt to identify possible connections between the mythical universe and Eugène Ionesco’s play The Chairs. Noticing that the definition given to Ionesco’s theatre as a theatre of the absurd is outdated and that alternative concepts, such as parabolic drama, are already being proposed, we examine Ionesco’s theatricality from the perspective of the anti-theatre. Also, due to the fact that theatre is defined, by the representatives of political theatre, as ritual, we make a few considerations upon Ionesco’s anti-theatre viewed as anti-ritual. Afterwards, evaluating the different definitions of the myth and concluding that its definition is still a work in progress, we seek to extract arguments in order to look into Ionesco’s play from the point of view of the myth. Thus, we remark that a certain myth, underpinning the play, cannot be identified, but we have the possibility to identify and to argue that this play has a mythical horizon. At the same time, we take into consideration our personal experience with the performance of The Chairs that we put on stage, an experience that, also, constitutes a point of reference in our approach. Consequently, we suggest that references to a mythical horizon must be involved in the scenic interpretation of Eugène Ionesco's The Chairs.
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Jamal, Nynu V. "A Postmodern Allegory: Absurdity in Harold Pinter’s The Birthday Party." Shanlax International Journal of English 9, no. 1 (December 1, 2020): 16–17. http://dx.doi.org/10.34293/english.v9i1.3516.

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The Birthday Party is an absurdist play written by the British playwright, screenwriter, director and actor Harold Pinter. He is one of the most celebrated dramatists of the Theatre of the Absurd. The objective of the paper is to examine how Pinter’s play The Birthday Party incorporates the elements of an absurdist play. The paper also tries to explain how the fragility of language to communicate is being portrayed through the play.
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M Mahbub, Rahman, and Shahnaj Parvin. "Hope in Hopelessness: Appreciating “Waiting” as an Essential Device in Selected Plays of Beckett and Ahmad." Shanlax International Journal of Arts, Science and Humanities 8, no. 2 (October 1, 2020): 27–32. http://dx.doi.org/10.34293/sijash.v8i2.3418.

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This paper aims to explore and appreciate “waiting” as an essential device in selected plays of Beckett and Ahmad. They defy traditions and conventions of plays by inventing their own innovative and individualistic manner of manipulating structural patterns to shape the Absurd dramas. This paper focuses on the incessant incidence of the “waiting” in Beckett’s Waiting for Godot and Ahmad’s The Thing, and analyzes how important this waiting matters to the characters. The essential device of ‘waiting for’ and the open possibility of a change is what keeps hope alive. Through the journey of the characters, the playwrights focus on how man can confront and survive against the hostility of surroundings through ‘waiting.’ This is narrative research that follows descriptive-cum analytical method, and the textual references are given as evidence to support theargument of this study. It is found that the reality of the situation in which the absurd character appears is a psychological reality expressed in images that are the outward projection of states of their mind. That is why the Theatre of the Absurd can be considered an image of the human being’s inner world. It presents a truer picture of reality itself, reality as grasped by an individual that helps the characters as well as the audience to comprehend the harsh reality that life is full of qualms through their absurd conditions.
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Kott, Jan. "The Two Hells of Doctor Faustus: a Theatrical Polyphony." New Theatre Quarterly 1, no. 1 (February 1985): 7–18. http://dx.doi.org/10.1017/s0266464x0000138x.

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The first article in the first issue of the original TQ was a piece by Jan Knott, utilizing the concept of the absurd as a means of understanding Greek tragedy. Recently, his essays, of which many first appeared in TQ, have been published in a new collection, The Theatre of Essence, from Northwestern University Press. Kott's idiosyncratic approach to the interpretation of theatre texts continues to distinguish him as one of those rare literary critics whose insights illuminate the play in production – the reflection in the Brook–Scofield King Lear of his Beckettian interpretation in the seminal Shakespeare Our Contemporary being just the most famous instance. Now Jan Kott, who teaches at the State University of New York, Stony Brook, turns to the world of Shakespeare's own contemporary, Christopher Marlowe, and examines Doctor Faustus as the meeting-place of many kinds of Elizabethan and pre-Elizabethan theatre, contributing to an understanding of the play that is rooted not in a dead theology but in a living theatricality.
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Sundén, Jenny, and Susanna Paasonen. "“We have tiny purses in our vaginas!!! #thanksforthat”: absurdity as a feminist method of intervention." Qualitative Research Journal 21, no. 3 (March 18, 2021): 233–43. http://dx.doi.org/10.1108/qrj-09-2020-0108.

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PurposeAccording to thesaurus definitions, the absurd translates as “ridiculously unreasonable, unsound, or incongruous”; “extremely silly; not logical and sensible”. As further indicated in the Latin root absurdus, “out of tune, uncouth, inappropriate, ridiculous,” humor in absurd registers plays with that which is out of harmony with both reason and decency. In this article, the authors make an argument for the absurd as a feminist method for tackling heterosexism.Design/methodology/approachBy focusing on the Twitter account “Men Write Women” (est. 2019), the rationale of which is to share literary excerpts from male authors describing women's experiences, thoughts and appearances, and which regularly broadens into social theater in the user reactions, the study explores the critical value of absurdity in feminist social media tactics.FindingsThe study proposes the absurd as a means of not merely turning things around, or inside out, but disrupting and eschewing the hegemonic logic on offer. While both absurd humor and feminist activism may begin from a site of reactivity and negative evaluation, it need not remain confined to it. Rather, by turning things preposterous, ludicrous and inappropriate, absurd laughter ends up somewhere different. The feminist value of absurd humor has to do with both its critical edge and with the affective lifts and spaces of ambiguity that it allows for.Originality/valueResearch on digital feminist activism has largely focused on the affective dynamics of anger. As there are multiple affective responses to sexism, our article foregrounds laughter and ambivalence as a means of claiming space differently in online cultures rife with hate, sexism and misogyny.
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Kim, Chee-Hoon. "Analysis on the Expression of Theatre of the Absurd in Chris Landreth's 3D Short, Bingo." Journal of the Korea Contents Association 9, no. 1 (January 28, 2009): 215–22. http://dx.doi.org/10.5392/jkca.2009.9.1.215.

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Abdul-Jabbar, Wisam Kh, and Sabah Wajid Ali. "Sarcasm as Postcolonial Dialogue: Bloggers, Cultural Hegemony and Resistance." Culture and Dialogue 7, no. 2 (November 26, 2019): 167–84. http://dx.doi.org/10.1163/24683949-12340065.

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Abstract This essay looks at two young English-speaking Iraqi bloggers whose internationally recognized writings describe the chaos in post-Saddam Iraq. It examines sarcasm as a mode of resistance as employed by Salam Pax, characterized by BBC Radio in 2003 as “the most famous diarist in the world,” and Riverbend, whose blog was published as a book and translated into several languages. By subjecting the colonial discourse to ridicule, they not only successfully convey the angst their people suffer, but also mock a stereotypical rhetoric that haunts the Western mentality regarding the Middle East. This essay negotiates their use of sarcasm as a means of non-violent resistance. It demonstrates how, for instance, they shift from the sarcastic to the absurd to unravel the banality of the colonial mind and the conceited position of its liberating enterprises. The aim of the paper is, therefore, to shed light on the emergence of a digitalized group of subalterns who write back to the center in the wake of the American intervention to topple the Baath regime in Iraq. Pax and Riverbend distinctively succeed in subverting the colonial and hegemonic gaze by unravelling the encroaching uncertainties of war through the deployment of sarcasm to signify resistance, and by transforming the coalition forces’ theatre of war into a theatre of the absurd.
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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 (February 25, 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 appeal to the aesthetic sensibilities were examined. The study employed descriptive research and used purposive sampling. Data was analysed qualitatively by describing the findings of the study to arrive at inferences and conclusions. In Ruganda’s plays, the country is represented as being sick and in dire need of an urgent remedy but no one has the desire to bring in a solution to it. The sickness has not only affected the people as individuals but the nation as a whole. The playwright is by extension pointing to the cause of the sickness affecting the nation as being attributed to bad leadership. Using the lives of main characters, the playwright also demonstrates the senselessness of the human life and the inadequacy of the rational approach by the open abandonment of rational devices and discursive thought. The characters are portrayed as isolated and lonely individuals whose lives and fate area mere subject of time. The finding of the study is an important contribution to understanding drama and the changing trend in literary criticism in drama
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TRUNILINA, MARINA I., and MARIA V. PITELINA. "COMMUNICATION IN THE EUROPEAN THEATRE OF THE ABSURD (ON THE EXAMPLE OF EUGÈNE IONESCO'S AND SAMUEL BECKETT'S PLAYS)." HUMANITARIAN RESEARCHES 76, no. 4 (2020): 138–43. http://dx.doi.org/10.21672/1818-4936-2020-76-4-137-142.

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The article examines the features of communication in the plays of the Theatre of the Absurd. The absence in the act of communication of the most important components such as objectives, motives and needs - leads to communication breakdown. The consequence of communication breakdown is language disintegration, which we observe in the case of lack of lexical and grammatical connections, the absence of semantic connection between the objects of conversation, in the illogical inferences of the heroes, in the multidimensional dialogue. The material of the research is the plays "The Bald Singer" by E. Ionesco and "Waiting for Godot" by S. Beckett.
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Hadi, Ameer Abd. "The Image of the 'Saviour' in Waiting for Godot and Islam: A Thematic Comparative Study." Psychology and Education Journal 58, no. 2 (February 1, 2021): 1756–65. http://dx.doi.org/10.17762/pae.v58i2.2333.

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The idea of the 'saviour' has been an interesting subject matter for many specialists for a very long time. Its interset can be attributed to many reasons, probably the most important one is religion. Allusions to the saviour seem to be present in almost all religions, heavenly or earthly. It has been noted that even the pagan tribes believe in the existence of a saviour as a part of their cultures and traditions. Another reason stems back to man's weakness as a living creature and his constant need for a natural, or supernatural, power to save him from misery, oppression, injustice, ...etc. The saviour could be a superbeing or human being. For instance, Beowulf is looked at as a saviour, and King Arthur was, for a long time, thought to be a saviour that one day he will come and save his people, and many legends have been written in this respect. The aim of this study is to highlight the 'saviour' as a concept in Samuel Becket's play Waiting for Godot and explore its interpretations as tackled by two 'schools': The Theatre of the Absurd and Existentialism, then compare it to the concept of the saviour from Islam's point of view. The study falls into four chapters. Chapter one is devoted to outline the 'saviour' as a term, the belief in the presence of the saviour in general, and how the idea of the saviour is looked at by different writers and philosophers. Chapter two highlights the principles of the Theatre of the Absurd that are concerned with the 'saviour' and how those principles are reflected in the play. It also shows how 'waiting' becomes adherent to the word 'saviour'. Thereafter, the existentialism philosophy is examined since the principles of the Theatre of the Absurd are closely related to the it. Chapter three is spared for showing the concept of the saviour in Islam in general, and in the Shia sect in specific. In order to accomplish this aim, some Quranic verses and Hadiths (reports of Prophet Mohamed's teachings collected after His death) are presented as examples to show the belief in the existence of the Saviour (Mahdi) in Islam. Finally, the study ends with chapter four which, in the light of the research findings, compares the image of the saviour in Waiting for Godot and Islam.
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Raouf Aminzadeh. "Semiotic Analysis of Roland Barthes on Wardah Advertisement Version “I Face of Indonesia”." LingLit Journal Scientific Journal for Linguistics and Literature 2, no. 4 (December 30, 2021): 141–49. http://dx.doi.org/10.33258/linglit.v2i4.552.

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This article is an attempt to focus on Interior by Maeterlinck in the light of Absurd tradition. Maeterlinck employed symbols to illuminate nature, spirituality, existence, and the innumerable and invisible forces that shape our existence. Maeterlinck uses symbolism to explore the theme of death that is omnipotent in everyday life. The Interior 's central theme is death. Maeterlinck generates suspense by juxtaposing the characters' uneasiness in the garden with the family's peace and ignorance within the house. In order to reach this aim, the researchers decide to explain the theatre of the Absurd and its elements. Maeterlinck distrust of language is shown in his distrust of words, using repetitions, silences, pauses and some other tactics. The existential theme and contents used in selected play are discussed. Themes such as: death, lack of individuality and lack of communication in mentioned play is discussed. Moreover, this article also contains a comparative study of the structure of the two.
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Garofalo, Peter, Louis Kibler, John Michael Stuart, and Louis Kibler. "Ezio D'errico's Theater of the Absurd: Three Plays." Theatre Journal 45, no. 1 (March 1993): 126. http://dx.doi.org/10.2307/3208599.

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Bussino, Giovanni R., Louis Kibler, and John Michael Stuart. "Ezio d'Errico's Theater of the Absurd: Three Plays." Italica 71, no. 2 (1994): 247. http://dx.doi.org/10.2307/480019.

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Wynne, Laura. "Empowerment and the individualisation of resistance: A Foucauldian perspective on Theatre of the Oppressed." Critical Social Policy 40, no. 3 (March 25, 2019): 331–49. http://dx.doi.org/10.1177/0261018319839309.

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Waterloo, in Sydney, Australia, is a neighbourhood currently dominated by a large public housing estate. The estate is to be redeveloped to be a ‘socially mixed’ community largely comprised of private residents. Many current residents of Waterloo have organised in opposition to the redevelopment. At the same time, government and community development agencies have implemented a number of capacity building and consultation programmes for residents, including a theatre performance. Programmes of empowerment are increasingly used by the state and the third sector to encourage disadvantaged or marginalised citizens to ‘take responsibility’ for their own lives. In this article, I examine a performance coordinated by a community theatre group that uses the ‘Theatre of the Oppressed’ format, intended to allow participants to identify ways to overthrow the forces that oppress them. I use a Foucauldian conception of power, subjectivity and resistance to critically examine the performance in its context. I explore ways in which the Theatre of the Oppressed format was applied (perhaps unintentionally) in such a way that it reinforced a vision of the situation as immutable and unchangeable, placing the onus on residents to transform their own actions to deliver change. Such framing makes any effort at resistance appear absurd, and is anything but empowering for residents.
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