Relevant bibliographies by topics / Theater of the absurd

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Theater of the absurd'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Theater of the absurd"

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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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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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Bowles, K. Johnson. "Theater of the Absurd." Afterimage 24, no. 2 (September 1996): 12. http://dx.doi.org/10.1525/aft.1996.24.2.12.

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Tong, Enyue, and Li Liu. "Research on the Theater of Absurd." Arts Studies and Criticism 4, no. 1 (July 13, 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 Theater, and even Music theater like Off-Off Broadway, the authors finally chose to conduct in-depth research on the Absurd Theater. The background research includes but not limited to the period from1950s to the late 1980s in Europe, and elaborates the development of absurd theory in detail. This paper is represented by Ionesco’s famous drama — Rhinoceros, conducting research from the perspectives of forms, themes, literature technologies and moral to show readers what absurd drama is and its characteristics. Different histories can lead to different forms of literary works including drama. We should always constantly explore new forms of Drama which is extremely interesting and challenging!
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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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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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Xatamova, Nodiraxon Qosimjonqizi. "Elements of Theatre of Absurd in Uzbek Literature." European Journal of Higher Education and Academic Advancement 1, no. 2 (June 6, 2023): 232–34. http://dx.doi.org/10.61796/ejheaa.v1i2.191.

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Zhilichev, P. E. "Absurdist Drama and Its Academical Reception in Russian and Western Literary Criticism." Bulletin of Kemerovo State University 24, no. 5 (November 7, 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 conceptualize the theater of the absurd as a part of a broader typological unit, e.g., Michael Bennett’s theater of parabola. Russian scholars and critics have developed a range of important concepts as well. They see absurd as a violation of basic rules of communication (Olga Revzina, Isaac Revzin). The Union of Real Art (Mikhail Yampolskiy, Dmitry Tokarev) focuses on the principle of serialized eventfulness. Others concentrate on the meta-descriptive nature of absurd (Evgenyi Kluev) and develop the concept of absurdity as a picture of the world (Olga Burenina-Petrova). Both in Western and Russian studies, the conceptualization of the theater of the absurd follows two opposite poles: absurd can be interpreted as either a linguistic phenomenon (deconstruction of communication), or as a certain way of human existence. During the 1980–2000s, post-structuralist philosophy played a major role in the re-thinking of the absurd, while the interaction of philosophical and literary approaches determined the principles of historical aesthetics. As suggested by contemporary researchers, the discourse of the absurdist drama has the following features: deconstruction of cultural codes; actualization of the archaic basis of theater; parodying literal and theatrical conventions; problematization of the semiotic linkage (sign and its referent); depiction of mosaic consciousness and unstable cosmos.
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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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Jarallah AL-BAZZAZ, Ghassan Salah. "L’impact du théâtre de l’absurde français sur le théâtre irakien Taha Salem et sa pièce "Tantale " comme modèle." JOURNAL OF LANGUAGE STUDIES 5, no. 1 (January 23, 2022): 253–63. http://dx.doi.org/10.25130/jls.5.1.19.

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This paper examines the influence of the French Theatre of the Absurd on the Iraqi theater. The Iraqi playwright Taha Salem with his play "Tantal" have been chosen as a model. To reach this goal, three main points have been tackled: the first is devoted to briefly presenting the creation of the French Theatre of the Absurd, the second aims at uncovering the reasons for receiving this new theatrical form by some Iraqi playwrights, the third point focuses on analyzing the theatrical text of the Iraqi writer Taha Salem. Moreover, this analysis is based on studying three axes: the form, the linguistic structure, and the privacy of the characters of the play.
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Dissertations / Theses on the topic "Theater of the absurd"

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Perrault, Jean-François. "Le langage du théâtre de l'absurde : suivi de Resolutions." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22445.

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This thesis in creative writing comprises two sections. The first is an essay on the theatre of the absurd. The introduction sets the genre in its historical context and briefly describes its aesthetic qualities. Four plays by reputed "absurd" playwrights are studied in the body of the essay: La cantatrice chauve (The Bald Soprano) by Eugene Ionesco, Fin de partie (Endgame) by Samuel Beckett, Le balcon (The Balcony) by Jean Genet, and Les voisins (not translated) by Claude Meunier and Louis Saia. The conclusion examines the difference between dramatic and comic plays found within the theatre of the absurd. It also touches on the legacy of the theatre of the absurd.
The second section of the thesis is a play in one act entitled Resolutions. It respects the principal characteristics of the theatre of the absurd which are described and analysed in the first section.
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Onyedike, Adanma. "Onye Mbu: 'My Identity' Pedagogical Applications of the Surreal and Absurd in Adrienne Kennedy's Funnyhouse of a Negro." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1678.

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ONYE MBU: MY IDENTITY PEDAGOGICAL APPLICATIONS OF THE SURREAL AND ABSURD IN ADRIENNE KENNEDY'S FUNNYHOUSE OF A NEGRO By Adanma N. Onyedike, M.F.A A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2009 Major Director: Dr. Noreen Barnes, Director of Graduate Studies Department of Theater This document investigated my personal journey of discovering, developing, and later executing skill in teaching the theatrical arts. The re examination of the steps that led to my current success was important in order to qualify the receiving of my M.F.A. in Theater Pedagogy. Starting from my Undergraduate career, the thesis touched on lessons that I have learned throughout my career. My academic and professional theatrical works were also included. These lessons were implemented in my direction of the production Funnyhouse of a Negro which was my Thesis Directing Project. I consider this document a guidebook for those who are interested in teaching Theater Arts.
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M'Enesti, Ana-Maria. "A Painter of the Absurd: Reading Through and Beyond Eugène Ionesco's Humanism." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18754.

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The Theatre of the Absurd often has been considered the reflection of a deconstructionist gesture, a negation of the existent theatrical norms, therefore an end in itself without any prospect of possible alternatives or remedies. While this may be partially true, the entropy inherent to the absurd does not adhere to a mechanically formal posture; rather, the "purposeless wandering", in Eugène Ionesco's case, points, through humor (Ce formidable bordel), toward a longing for meaning, deeply rooted in the human being. This very longing is the crux of Ionesco's humanism. For him suffering (Le Roi se meurt), as the offshoot of the human being's finite condition and the affect that bonds the community, is intertwined with an unexplained feeling of wonderment--an opening to contemplation of the infinite. The merging of suffering and wonderment that suffuses Ionesco's textual and visual works presents the field in which his vision of a metaphysical humanism must find form. Art, in Ionesco's perspective, as the expression of being and the witness of its time (Rhinocéros), can be understood as a redemptive medium, a hope for humanism. Through the interplay of text (plays, reflections and short stories), image (drawings, gouaches and lithographs) and performance, this dissertation explores themes, imagery and structures that reflect Ionesco's paradoxical view on humanism. Thus, in light of interdisciplinary readings, I identify archetypal images recurrent in Ionesco's works and his subversive interpretation of these images as revelatory of the author-painter's inner search for meaning. This quest, which is the unifying principle throughout Ionesco's work, is revealed in themes spanning from the entropy of language (La Cantatrice chauve, Les Chaises) to the sacrificial act of substituting for the other (Maximilien Kolbe). In this ultimate act of testimony, Ionesco depicts Emmanuel Lévinas' ethics wherein the self becomes a "hostage" of the other, vulnerable at the encounter with the other. My analysis of Ionesco's humanism continues beyond his works with a reading of the historicized absurd and humanism in the works of two contemporary diasporic playwrights: Matéi Visniec and Saviana Stanescu.
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Gehle, Hermione. "The absurd reality of satire in Neil LaBute's 'Fat Pig'." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1661.

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This research project examines the misreading of satire in some productions of Neil LaBute’s play, Fat Pig. This practice led project aims to investigate why such misinterpretations occur and explore the theatrical styles that emphasise the satire in the text via rehearsal processes and production. There will be three preliminary paths undertaken in this research heading toward a new production of Fat Pig; an exploration of the responses of audiences and critics to past productions; an analysis of the background to Neil LeBute and his work; and an examination of theatrical expressions of satire, experimental theatre, contemporary theatre, and their practitioners. The overall aim of this research project is to find ways, as a director, to experiment with theatrical styles as a means to expand the play’s complex issues and ironic take on society’s narrow view of female beauty. This study will explore the following questions: what is the correlation between staging and design (the director’s influence and how an audience interprets meaning; and what forms of theatrical expression will highlight and emphasise the satire and irony present in the text? In what ways can critical reviews and feedback from previous productions indicate the understanding (or lack of understanding) of the ironic content in the script? Can situating LaBute in the context of his satiric writing style that straddles literary elements from opposing absurd and realism genres shed light on how irony can be exposed in Fat Pig? The project’s new production aims to underscore the play’s social commentaries by combining various forms of theatrical styles, philosophies, and methodologies. I wish to extend my directorial practice by investigating strategies to emphasis and highlight what I see as the underlying focus of Fat Pig; society’s discriminating behaviour to those who sit outside mainstream ideas of physical beauty
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Percival, Gary William. "Developments towards a theatre of the absurd in England, 1956-1964." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/14879.

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In 1961 Martin Esslin created the term 'Theatre of the Absurd' as a working hypothesis, a device with which to make fundamental traits present in the plays of a number of France-based dramatists accessible to discussion by tracing the features they had in common. Despite the popularity of Esslin's study, there has been no comparable discussion of England-based absurdism. An explanation for this lack of critical attention may be found in the dogged insistence amongst scholars that there are only two absurd playwrights in the English theatre before 1967. My first aim in this thesis is to redress the imbalance in critical literature, to demonstrate that there existed in England, in the late 1950s and early 1960s, an indigenous expression of absurdism far broader and significantly more complex than that which has been recognised by theatrical reviewers during the past thirty years. Having identified an indigenous absurdism, I go on to challenge the generalisations and over-simplifications surrounding the English 'absurd', which are a product of its critical marginalisation and neglect. I discuss the complexities of the evolution of the English 'absurd', and the ramifications of its development, paying due regard to the theatrical, historical and social factors which shaped its early growth. The playwrights who represent the genre are examined in tum, and attention is devoted to the details of the development of an absurd dynamic within their works. The study falls into three parts. Part I attempts to explain why the English 'absurd' had such a limited impact within its own country up until the late 1960s. It is revealed that many of the writers of the English 'absurd' were incapable of divorcing their plays from the social-orientated drama which dominated English theatre in the late 1950s. The cross-fertilization of an overtly social theatre and absurdism resulted in an expression of the genre which was modified and, to an extent, compromised by its adherence to external, political realities. The focus shifts, in the second part, to accommodate those neglected writers of the English 'absurd' who managed to avoid such compromises and who created a more abstract theatre, the aesthetic and epistemological intentions of which resemble those of the French absurd. Part III explains why, despite the relative obscurity of the English 'absurd', a fragmented absurdism managed to be absorbed into the permanent vocabulary of dramatic expression in England in the 1960s. This final section examines the works of a number of non-absurd writers who took on isolated absurd devices as part of an experiment with the parameters of drama, thereby bringing those techniques into mainstream theatre.
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Richardson, Andrew. "Acting the Absurd: Physical Theatre for Text/Text for Devising." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3744.

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This paper considers two purposes for actor training—textual interpretation and devising original works—through the teaching of a class based on contemporary theatrical clown and physical theatre exercises which are then applied to Samuel Beckett’s Waiting for Godot. Devised work can be used to interpret a script, and a script can be used as a jumping-off point to devise new works. Beginning with an explanation of the teaching methods for the class, the paper then gives a background of clowns who performed in Beckett’s plays, and analyzes various productions' use of games to enliven text. Exercises from the class are used as examples of exploring the uncovering of clown personas and the application of games to both Beckett scene-work and invented theatre pieces. The students’ final performances are examined to demonstrate the effectiveness of the classwork, confirming that textual interpretation and devising are complementary instead of opposing practices.
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Al-Ghafari, Hanan. "The influence of the theatre of the absurd on Arabic drama." Thesis, University of Leeds, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364452.

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Müller, Volker. "Die Deixis im Theater des Absurden." [S.l. : s.n.], 2004. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11612020.

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Epling, Leslie Rose. "Costume Designing for Theatre of the Absurd - Come and Go, Footfalls, and The Dumb Waiter." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/honors/6.

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In October of 2010, ETSU staged three one-act plays in the Theatre of the Absurd genre--Come and Go and Footfalls by Samuel Beckett and The Dumb Waiter by Harold Pinter. This thesis gives a brief overview of Theatre of the Absurd and how Beckett and Pinter helped to shape and define the genre. It also gives an analysis of these three plays from the perspective of the costume designer.
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Leite, André Luiz [UNESP]. "O zoológico existencialista de Edward Albee." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/91594.

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Made available in DSpace on 2014-06-11T19:25:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-04-26Bitstream added on 2014-06-13T18:26:25Z : No. of bitstreams: 1 leite_al_me_arafcl.pdf: 864986 bytes, checksum: 0067c970ef9b685707a6e900dd9a6ce9 (MD5)
A obra de arte dramática, diferentemente de outras formas artístico-literárias, é a que de forma mais prática e imediata estabelece uma relação entre seu realizador e o público ao qual ela é destinada. Contudo, o drama moderno, produzido a partir do final do século XIX, passou por uma série de crises e adaptações quanto à forma e ao conteúdo, decorrentes de várias mudanças ocorridas nos mais diversos setores da sociedade. Edward Albee é um dos maiores dramaturgos norte-americanos da segunda metade do séc. XX. Seguindo uma tradição que produziria grandes talentos como Eugene O'Neill, Tennessee Williams e Arthur Miller, o novo autor surge em 1958 com seu texto, The Zoo Story, associado ao Teatro do Absurdo. A peça de forma minimalista põe em cena dois bancos de praça e duas personagens: Peter que é a própria personificação do self made man, já que está enjaulado aos ideais e aos valores burgueses de vida, e Jerry o outsider ou o transeunte permanente que não se insere nos padrões, no código moral e de valores socialmente estabelecidos. Entretanto, ou por isso mesmo, possui uma capacidade reflexiva extremamente aguçada. O objetivo é tratar de um aspecto da peça - a questão da absurvidade e da liberdade, como formas de transcender a angústia existencial e a vida sem significado em um contexto destituído de símbolos metafísicos. Analisar-se-ão os elementos relacionados a estes tópicos bem como o modo que servem de instrumento para o esvaziamento da ideologia burguesa, que culmina na crítica ácida que Edward Albee desfere ao American way of life.
Dramatic art, differently from other literacy-artistic forms, is the one that most practically and immediately establishes a relationship between its producer and the audience it is created for. However, modern drama, produced since the end of nineteenth century, has gone through many crises and adaptations in its form and content, originated from many changes occured in the various instances of society. Edward Albee is one of the major American playwrights of the second half of the twentieth century. Following a tradition which produced gifted authors such as Eugene O'Neill, Tennessee Williams and Arthur Miller, the new author appears with his play The Zoo Story in 1958, associated to the Theater of the Absurd. The play, in a minimalist way, stages two park benches and two characters: Peter, the personification of the self made man, encaged in the bourgeois ideals and values of life; and Jerry, the outsider or the permanent transient who does not fill in the patterns, in the moral code or the established social values. However, or because of this, he has a sharpened reflexive ability. The aim of our search is to treat one aspect of the play - absurdity and freedom - a means of transceding existential anguish and life without meaning in a context deprived of metaphysical symbols. We intend to analyze elements related to these topics, as well as the way they function as instruments for the emptying bourgeois ideology which, ends up the sour criticism Albee aims at the American way of life.
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Books on the topic "Theater of the absurd"

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Cobb, Karen. Theatre of the absurd. Montreux: Minerva, 1995.

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Elyaḳim, Yaron, ed. Teʾaṭron ha-absurd. Tel Aviv: Zemorah, Bitan, 1985.

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Blau, Herbert. Reality principles: From the absurd to the virtual. Ann Arbor: University of Michigan Press, 2011.

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Esslin, Martin. The theatre of the absurd. 3rd ed. London: Penguin Books, 1991.

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Pravat, M. Theatre of the absurd. New Delhi: Anant Art Gallery, 2006.

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Thillmann, Marie-Theres. Der dramatische Zweittext: Zur Funktion der Regieanweisung im absurden Theater Frankreichs. Münster: Lit, 1991.

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Danci, Monica Alina. Universul absurd al operelor lui Eugen Ionescu și Samuel Beckett: L'univers absurde des oeuvres de Eugéne Ionesco et de Samuel Beckett. Cluj-Napoca: Argonaut, 2012.

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Anishchenko, Marina Gennadʹevna. Drama absurda. Moskva: GITIS, 2011.

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Krajewska, Anna. Dramat i teatr absurdu w Polsce. Poznań: Wydawn. Nauk. UAM, 1996.

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Bennett, Michael Y. Reassessing the Theatre of the Absurd. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118829.

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Book chapters on the topic "Theater of the absurd"

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Gburek, Manfred. "Absurdes Theater." In Investment fonds, 139–60. Wiesbaden: Gabler Verlag, 1991. http://dx.doi.org/10.1007/978-3-322-85769-9_11.

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Decker, Kevin S. "Theater of the Absurd: Breaking Bad as Edifying Philosophy." In Philosophy and Breaking Bad, 233–48. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40343-4_16.

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Whistler, Grace. "Absurd Theatre: Caligula and Beyond." In Camus' Literary Ethics, 147–74. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37756-4_6.

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Girling, John. "Epilogue: Theatre of the Absurd." In Emotion and Reason in Social Change, 203–19. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230502581_11.

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McCoy, Chris. "Guerrilla Theatre as Absurd Performance." In The Routledge Companion to Absurdist Literature, 300–308. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003422730-36.

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Chattopadhyay, Arka. "Indian Theatres of the Absurd." In The Routledge Companion to Absurdist Literature, 448–60. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003422730-52.

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Bennett, Michael Y. "Introduction: Reassessing the Theatre of the Absurd." In Reassessing the Theatre of the Absurd, 1–25. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118829_1.

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Pearce, Michael. "Biyi Bandele’s Theatre of the Afropolitan Absurd." In Africa on the Contemporary London Stage, 87–108. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94508-8_5.

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Morgan, Margot. "Eugène Ionesco: The Theatre of the Absurd." In Politics and Theatre in Twentieth-Century Europe, 117–45. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137370389_5.

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Barilar, Nic, and Hannah Simpson. "Decolonisation and the Theatre of the Absurd." In The Routledge Companion to Absurdist Literature, 472–83. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003422730-54.

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Conference papers on the topic "Theater of the absurd"

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Zhang, Chen. "Absurd Happiness." In SA '11: SIGGRAPH Asia 2011. New York, NY, USA: ACM, 2011. http://dx.doi.org/10.1145/2077355.2425791.

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Chernysheva, Anna, and Anna Kostikova. "Tragedy of the "Absurd Hero"." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.266.

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Crump, Evan. "Amputating Shakespeare: Theater Becoming-Theater." In 2021 AERA Annual Meeting. Washington DC: AERA, 2021. http://dx.doi.org/10.3102/1681701.

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Basu Thaku, Ritoban, Johannes Rothe, Carlo Bucci, and Lucia Canonica. "Hands on CUORE/ABSuRD: Veto Scintillator testing." In Gran Sasso Summer Institute 2014 Hands-On Experimental Underground Physics at LNGS. Trieste, Italy: Sissa Medialab, 2015. http://dx.doi.org/10.22323/1.229.0024.

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Chandler, Corey D., Gloria Lo, and Anoop K. Sinha. "Multimodal theater." In CHI '02 extended abstracts. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/506443.506642.

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Lorig, Gray. "Electronic theater." In ACM SIGGRAPH 92 Visual Proceedings. New York, New York, USA: ACM Press, 1992. http://dx.doi.org/10.1145/131340.260553.

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Bryce, Renee, and Vicki Allan. "Mystery Bug Theater." In 2011 24th IEEE-CS Conference on Software Engineering Education and Training (CSEE&T). IEEE, 2011. http://dx.doi.org/10.1109/cseet.2011.5876109.

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"Theater Missile Defense." In Space Programs and Technologies Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1995. http://dx.doi.org/10.2514/6.1995-4000.

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Velho, Luiz. "VR Kino+Theater." In 2019 IEEE Conference on Virtual Reality and 3D User Interfaces (VR). IEEE, 2019. http://dx.doi.org/10.1109/vr.2019.8797795.

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Felidre, Wagner, Leonardo Furtado, Daniel A. da Costa, Bruno Cartaxo, and Gustavo Pinto. "Continuous Integration Theater." In 2019 ACM/IEEE International Symposium on Empirical Software Engineering and Measurement (ESEM). IEEE, 2019. http://dx.doi.org/10.1109/esem.2019.8870152.

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Reports on the topic "Theater of the absurd"

1

Newman, J. L. Theater Missile Defense. Fort Belvoir, VA: Defense Technical Information Center, May 1998. http://dx.doi.org/10.21236/ada351808.

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Medlock, Glenn, and Christopher M. Stacy. Pacific Theater Operations. Fort Belvoir, VA: Defense Technical Information Center, January 2011. http://dx.doi.org/10.21236/ada559809.

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NICHOLS RESEARCH CORP HUNTSVILLE AL. Theater Missile Defense. Fort Belvoir, VA: Defense Technical Information Center, March 1990. http://dx.doi.org/10.21236/ada219432.

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Harmatz, Howard I. Joint Theater Missile Defense. Fort Belvoir, VA: Defense Technical Information Center, January 1996. http://dx.doi.org/10.21236/ada309658.

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Meyer, S. Soviet Style Theater Assessments. Fort Belvoir, VA: Defense Technical Information Center, September 1989. http://dx.doi.org/10.21236/ada269791.

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Krahling, William M. Expeditionary Theater Opening Strategy. Fort Belvoir, VA: Defense Technical Information Center, March 2013. http://dx.doi.org/10.21236/ada589227.

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Nehrkorn, Thomas, Rose N. Hoffman, Jeanne Sparrow, Min Yin, and Stan Ryckman. Theater Analysis Procedures (TAP). Fort Belvoir, VA: Defense Technical Information Center, November 1997. http://dx.doi.org/10.21236/ada340975.

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Ramos, Octavio. Nuclear Weapons Theater Experience_V1. Office of Scientific and Technical Information (OSTI), December 2022. http://dx.doi.org/10.2172/1903534.

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Brown, Gerald G., and Alan R. Washburn. The Fast Theater Model (FATHM). Fort Belvoir, VA: Defense Technical Information Center, January 2002. http://dx.doi.org/10.21236/ada486674.

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Pate, Steven W. Transforming Logistics: Joint Theater Logistics. Fort Belvoir, VA: Defense Technical Information Center, March 2006. http://dx.doi.org/10.21236/ada448696.

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