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1
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.
2
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.
3
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
5
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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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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Leal, Cristyane Batista. "Hilda Hilst e a tradição moderna do teatro." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/9065.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This study presents an interpretative reading of six plays by Hilda Hilst: The Company, The Rat in the Wall, The Auto of the Ship of Camiri, The Birds of Night, The New System, and The Patriarch’s Death, through theoretical assumptions of the Theater of the Absurd, especially those of Eugène Ionesco, and the Theatre of Cruelty, of Antonin Artaud. These plays have in common the distance, at different levels, which they establish in relation to the traditional forms of development and resolution of the dramatic conflicts, configuring themselves as static dramas. Considering the fact that it is an essentially lyrical theater, this study sees lyricism as a style that contributed to the constitution of Modern Arts, with an emphasis on the Symbolist theater of the end of the 19th century, bringing the Hilstian theater closer to the Theater of the Absurd of the XX century and locating its marginality in the Brazilian theater because of its distance from the Brechtian and realistic aesthetics that, at the time of its writing, was predominant in the Brazilian scene.The peripheral situation of Hilda Hilst’s theater here is presented because of the very place that theatrical culture occupies in Brazil, always at a disadvantage if compared to other arts. The singularity of her theater rests in its slippage between dramatic, lyrical and absurd categories, revealing the consciousness of incommunicability and the inability of the hero-poet to ensure human integrity in the eternal totalitarian social systems, hence their approach to the Artaudian Theater of Cruelty. Yet, imploding reality by abstract choices of character composition, action, time and space, the Hilstian dramas present themselves as a resilient and conscious response to the social collapse resulting from human deterioration.
Este estudo apresenta uma leitura interpretativa de seis peças de Hilda Hilst: A empresa, O rato no muro, Auto da barca de Camiri, As aves da noite, O novo sistema e A morte do patriarca, por meio de pressupostos teóricos do Teatro do Absurdo, especialmente aqueles de Ionesco, e os do Teatro da Crueldade, de Antonin Artaud. Essas peças têm em comum a distância, em diferentes níveis, que estabelecem em relação às formas tradicionais de desenvolvimento e resolução dos conflitos dramáticos, configurando-se como dramas estáticos. Considerando o fato de se tratar de um teatro essencialmente lírico, este trabalho enxerga o lirismo como um estilo que contribuiu para a constituição das artes modernas, com ênfase no teatro simbolista do final do século XIX, aproximando o teatro hilstiano do Teatro do Absurdo do século XX e localizando sua marginalidade no teatro brasileiro, em razão de seu afastamento da estética brechtiana e realista que, na época da sua escrita, era predominante na cena brasileira. A situação periférica do teatro de Hilda Hilst é aqui apresentada como consequência do próprio lugar que a cultura do teatro ocupa no Brasil, sempre em desvantagem se comparado a outras artes. A singularidade de seu teatro repousa em seu deslizamento entre categorias dramáticas, líricas e do teatro do absurdo, revelando a consciência da incomunicabilidade e incapacidade do herói-poeta em assegurar a integridade humana nos eternos sistemas sociais totalitários, daí também sua aproximação ao Teatro da Crueldade artaudiano. Mesmo assim, implodindo a realidade por escolhas abstratas de composição de personagens, ação, tempo e espaço, os dramas hilstianos se apresentam como resposta resistente e consciente ao colapso social resultante de deteriorações humanas.
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Leite, André Luiz. "O zoológico existencialista de Edward Albee /." Araraquara : [s.n.], 2006. http://hdl.handle.net/11449/91594.
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Orientador: Alcides Cardoso dos SantosBanca: Iná Camargo Costa
Banca: Maria Clara Bonetti Paro
Resumo: 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.
Abstract: 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.
Mestre
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Brondani, Joice Aglae. "Clown, absurdo e encenação: processos de montagem dos espetáculos “godô ”, “trattoria” e “joguete”." Escola de Teatro, 2006. http://repositorio.ufba.br/ri/handle/ri/27113.
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Esta dissertação tem a intenção de investigar, analisar e registrar o processo de encenação dos espetáculos de Clown, GODÔ, TRATTORIA e JOGUETE, criados a partir de textos dramatúrgicos do teatro do absurdo, a fim de suscitar uma reflexão sobre os procedimentos adotados na montagem dos mesmos. O processo de encenação é construído através das interrelações e da união entre as teorias e as técnicas de Dario Fo, Lecoq e Burnier; através dos métodos de Stanislavski e de Viola Spolin, de textos do teatro do absurdo, contendo, ainda, a influência do cinema mudo, desenho animado e circo. Através do aprendizado com os mestres Nair D’Agostini, Inês Marocco, Thomas Leabhart, Kai Berthold e Ana Elvira Wuo, os processos de encenação ganharam “corpo” na intertextualidade formadora da escritura cênica das montagens de GODÔ; TRATTORIA e JOGUETE, espetáculos criados a partir de uma dramaturgia escrita (“Esperando Godot” de Samuel Beckett, “O Montacarga” de Harold Pinter e “Fim de Jogo” de Samuel Beckett – na ordem respectiva), utilizada como impulso para um vôo criativo tanto do encenador, quanto do ator.
Cette dissertation se veut étudier, analyser et enregistrer le processus de mise en scène des spectacles de clown - GODÔ, TRATTORIA et JOGUETE - qui furent créés à partir de textes dramaturgiques du théâtre de l´absurde, l’objectif étant de susciter une réflexion sur les formes adoptées lors du montage de ces derniers. La mise en scène est construite selon des relations qui peuvent faire parler les théories et les techniques de Dario Fo, Lecoq e Burnier ainsi que les méthodes de Stanislavski et de Viola Spolin. On se souviendra que le théâtre de l’absurde fait référence au cinéma muet, aux dessins animés et au cirque. D’enseignements de maîtres comme Nair D’Agostini, Inês Marocco, Thomas Leabhart, Kai Berthold e Ana Elvira Wuo, la mise en scène gagne « corps » lors de l`écriture scénique des montages de GODÔ; TRATTORIA e JOGUETE, spectacles créés à partir de dramaturgies tels que : « En Attendant Godot » et “Fin de Partie” de Samuel Beckett, et “Le Monte Plats” de Harold Pinter. Ceux-ci donnant l’élan d’un vol créatif pour le metteur en scène que pour l’acteur.
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Kunesova, Mariana. "L'absurde dans le théâtre français Dada et présurréaliste." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30010/document.
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L’objectif de cet essai est d’interroger l’absurde en tant que catégorie esthétique dans le théâtre Dada et pré-surréaliste français, entre 1916 et 1923, et ce dans trois textes : La Première aventure céleste de Monsieur Antipyrine, de Tristan Tzara (1916), S’il vous plaît, d’André Breton et Philippe Soupault (écrit en 1919) et Les Mystères de l’amour, de Roger Vitrac (écrit en 1923).L’absurde en tant que catégorie de théâtre a été notamment interrogé à la moitié du siècle dernier par le critique de théâtre britannique Martin Esslin, auteur de la conception d’un « théâtre de l’absurde », mise en place afin de caractériser et d’expliquer l’oeuvre des avant-gardes contemporaines. Cette contribution jouit à la fois d’une grande popularité et a été l’objet de vives critiques, qui la qualifient d’imprécise sinon vague. À ce titre, la présente thèse, afin de définir l’absurde, ne reprend pas les propositions de M. Esslin, mais s’efforce de procéder de manière indépendante. Dans la conclusion, elle effectue une comparaison avec la conception de cet auteur.La première section de cette thèse définit l’absurde en tant qu’une catégorie esthétique et de théâtre ; puis, elle s’intéresse à l’évolution de l’absurde esthétique (formulé comme tel ou intuitif) dans l’histoire du théâtre, notamment en France dans la période postclassique. La deuxième section étudie l’absurde dans le corpus concerné en examinant les structures narratives ainsi que discursivesThe aim of this doctoral dissertation is to analyze the absurd as an aesthetic category in French Dada and pre-surrealist theatre between 1916 and 1923, dealing with three texts : La Première aventure céleste de Monsieur Antipyrine by Tristan Tzara (1916), S’il vous plaît, by André Breton et Philippe Soupault (written in 1919) and Les Mystères de l’amour by Roger Vitrac (written in 1923).The absurd as a theatre and drama category was examined especially at the half of the last century by the British drama critic Martin Esslin, author of the conception of the ‘theatre of the absurd’, created in order to caracterize and explain the avant-garde theatre of the 1950´s. This contribution has reached both popularity and deep critics, being considered as poignant as well as imprecise and vague. Thus, this dissertation does not use M. Esslin´s propositions as its starting point, bur attempts to define the category of the absurd in drama and theatre independently. In the conclusion, it proceeds to a comparison with M. Esslin´s contribution.The first chapter of the thesis defines the absurd as an aesthetic and theatre category. Then, it observes the evolution of the aesthetic absurd (named as such or intuitive) in theatre history, before all in France of the post-classical period. The second part analyzes the absurd elements in my corpus, as regards narrative and also discursive structures
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Cox, Lara Alexandra. "Re-envisioning the 'theatre of the absurd' : the Lacanian spectator and the work of Fernando Arrabal, Arthur Adamov and Eugène Ionesco." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3369.
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This thesis considers the interface between the theatre of the absurd and Lacanian cultural criticism. It conceptualises a ‘theoretical spectator’ produced by the play texts and examines its implications for a politics of spectatorship in a postmodern age. This methodology seeks to escape the trap of existentialist criticism that has dominated ideas on the theatre of the absurd since Martin Esslin’s coining of the term in 1961. I posit the modern-day relevance of absurd theatre, by putting the plays under examination into dialogue with Lacanian and current post-Lacanian cultural and political thought. The chapters theorise various ‘spectatorial positions’ produced by three prominent playwrights of the theatre of the absurd: Eugène Ionesco, Arthur Adamov and Fernando Arrabal. I seek to confirm and bolster my theoretical arguments by turning to contemporary empirical reaction to modern-day performances of two other absurdists playwrights, Samuel Beckett and Jean Genet. One of the key postulates is that the theatre of these playwrights chimes with Lacan’s notion of the split subject. Etymologically, the word ‘absurd’ refers to division; thematically and aesthetically, absurd theatre bears witness to the erosion of subjective stability. The conceptual parity between Lacanian theory and absurd theatre permits me to stake out a new critical pathway with regard to this body of theatre that paves the way for its re-politicisation in a postmodern world.
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Wu, Yafei. "La réception en Chine du sentiment de l'absurde dans le théâtre d'Eugène Ionesco." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3027.
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La réception du théâtre d'Eugène Ionesco en Chine a connu plusieurs périodes différentes depuis les années 1960. Cette thèse consiste à l'explorer sous trois formes principales : la critique, la mise en scène et la création dramatique chinoise sous son influence. Les recherches sont entreprises à partir d'une réflexion récurrente de la réception d' « autrui » et la constitution de « soi ». La conception d' « autrui » traditionnelle et moderne chinoise influencent toujours la perception des cultures hétérogènes, alors que l'évolution de cette conscience depuis la fondation de la République Populaire de Chine agit profondément sur la réception de la littérature et l'art occidental. De la critique à la consécration, l'interprétation du théâtre d'Ionesco passe par le processus de rejet, refus, distinction et identification de l' « autrui ». Due à la lecture incomplète, elle se focalise sur quelques mots clés et des idées préconçues, pendant que sa conscience politique demeure un point aveugle. La pratique scénique du théâtre d'Ionesco est expérimentée pendant deux périodes intensives. Peu nombreuses, ces créations révèlent déjà des particularités de « sinisation » et la volonté de construire sa propre identité culturelle. Quant à l'écriture dramatique chinoise, l'apparition du théâtre de l'absurde chinois semble atteindre l'équilibre dans le vacillement entre deux pôles de l'emprunt de l' « autrui » et le retour du « soi ». Se référant au théâtre d'Ionesco, ce théâtre démontre des similarités. Un cas spécifique de réception d'une culture d' « autrui », celle du théâtre d'Ionesco, retrace aussi le chemin de rétablissement de l'identité culturelle de la Chine contemporaineThe reception of Eugène Ionesco's theatre in China has witnessed several different periods since the 1960s. This thesis involves researching the reception from three principal forms: the critique, the staging, the Chinese dramatic creation under his influence. The study is begun from a recurring reflection in reception of 'the other' and constitution of 'the self'. The Chinese traditional and modern conception of 'the other' influence always the perception of heterogeneous cultures, while her evolution since the foundation of People's Republic of China has a profound effect on reception of occidental art and literature. From critique to consecration, the interpretation of Ionesco's theatre passed by the process of rejection, refusal, distinction and identification of 'the other'. Due to an incomplete lecture, it is focused on several key words and preconceived ideas, although his political conscience remains a 'blind point'. The practice scenic of Ionesco' theatre experienced two condensed periods. These creations which are not numerous convey already the particularities of 'sinicization' and the will to construct the Chinese own cultural identity. As for the Chinese dramatic creation, the appearance of the Chinese theatre of the absurd seems to attain the equilibrium in the wobble between two poles which are borrowing from 'the other' and return to 'the self'. Instead of referring to the whole occidental theatre of the absurd, but to Ionesco's theatre, this theatre demonstrates the similitude.The reception of Ionesco's theatre, a specific case of reception of the other's culture, retraces also the way of the cultural identity's re-establishment in contemporary China
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Langteau, Paula T. "The absurdity of Miller's Salesman : examining Martin Esslin's concept of the absurd as presented in Arthur Miller's Death of a salesman." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/544134.
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Arthur Miller's Death of a Salesman, 1949, is traditionally viewed as a modern tragedy. Ample evidence in the text, however, suggests that Miller leans also toward the convention of the Theatre of the Absurd. Miller uses several techniques, including an absurdist handling of set, time and space, thought, action, and language to contribute to the larger absurdist "poetic image" of the death of a salesman. And the thematic interpretation of that image in terms of character and audience suggests the perpetuation of illusion, a common absurdist theme.Because Miller effectively combines the absurdist with the realistic elements of the drama, an absurdist reading of the play does not negate its readings as tragedy and social realism, but rather enhances those readings, providing an important additional perspective from which to view the play. An absurdist reading also establishes a definite tie between this important twentieth century playwright and the influential absurdist convention in theatre.Department of English
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Smith, Sofie. "Läsarens interaktion med texten : en studie av hur läsarens uppfattning av texten påverkar meningsskapandet i absurdistisk dramatik." Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-16455.
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This essay examines how the meaning of an absurd play may be affected by how the reader understands the text. To address this problem I have turned to Wolfgang Isers theory of reception. Primarily I have taken on that the creation of meaning comes about when the reader fills in blanks in the text. I have also used Martin Esslins work on the theater of the absurd. I have mainly studied his research on Harold Pinter. Based on these two theories I have suggested a interpretation model that focuses on the interaction between reader and text. The interpretation model contains how the reader analyses blanks through observing the wandering view alternatively understanding the implied reader. The interpretation model also discusses how the reader can fill in blanks by using the relationship between character and environment, the final junction, turning points and uncertainties. I tested this interpretation model on Harold Pinters play A kind of Alaska. In my ideation of the play I realized it was about the loneliness of ageing and changing. I used these results to evaluate the usefulness of the interpretation model.Denna uppsats undersöker hur läsarens uppfattning av en absurdistisk pjäs påverkar dess betydelse. För att angripa det här problemet har jag dels vänt mig till Wolfgang Isers receptions teori. Jag har främst tagit fasta på hur meningskapande sker när läsaren fyller i luckor i texten. Jag har även vänt mig till Martin Esslins forskning om den absurdistiska teatern. Där har jag främst studerat hans undersökning av Harold Pinters dramatik. Utifrån dess två teoretiska ingångar la jag fram ett förslag till en tolkningsmodell som utgår från läsarens interaktion med texten. Tolkningsmodellen innehåller bland annat hur man kan analysera luckor utifrån läsarens rörliga perspektiv alternativt utifrån en underförstådd läsare. Tolkningsmodellen tar också upp hur läsaren kan fylla i luckor genom att använda sig av karaktärens relation till rummet, knutpunkter, vändpunkter och osäkerheter. Jag har testat tolkningsmodellen på Harold Pinters pjäs A kind of Alaska. I min ideation av pjäsen kom jag fram till att den handlade om ensamheten i åldrande och förändring. Jag använde resultatet av analysen för att utvärdera tolkningsmodellens användbarhet.
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Liechti, Ronald. ""Ich lebe, absurd! Alle leben, absurd!" : Versuch über Thomas Bernhard /." Zürich : Zentralstelle der Studentenschaft, 1987. http://catalogue.bnf.fr/ark:/12148/cb358732156.
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Fuller, Deborah. "Ionesco's Absurd Anthropology." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd922.pdf.
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Hodges, Steven. "The digital absurd." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/33950.
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I believe that the concept of the absurd, as described in philosophy and reflected in works of drama and literature, provides an unusual and helpful perspective from which to view the emerging field of digital media. In my opinion, absurd principles can help us understand the mixed feelings we may have when engaging with digital media: joy and frustration, play and despair, significance and nonsense.
I intend to explore the concept of the absurd through a handful of authors and works, including the philosophy of Camus and the literature and drama of Pinter, Beckett, Roussel, and the Oulipo. I will use these works to analyze characteristics of absurdist works and then extend this analysis to characteristics and theory of digital media. I believe an absurdist analysis may bring a new vantage point to the study of digital media, from which we can see not only the advantages and liberation it offers but also the ever-present threat of nonsense it entails.
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Salov, Amanda. "An absurd beauty." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4982.
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Thesis (M.S.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 10, 2009) Includes bibliographical references.
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McDonough, Meredith. "Compassion for the absurd." Tallahassee, Florida : Florida State University, 2010. http://etd.lib.fsu.edu/theses/available/etd-04042010-225928/.
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Thesis (M.F.A.)--Florida State University, 2010.Advisors: James Kimbrell and Joann Gardner, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed on July 8, 2010). Document formatted into pages; contains vii, 41 pages.
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Stine, Jon M. "Absurd and grotesque circumstances." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1115754.
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The work is a reflection of my opinions and criticism of society and the world as I see it. The absurd behavior of individuals in my environment provided the basis for my research. The seven woodcut prints that were completed, attempted to examine universal and personally significant themes.I utilized visual techniques to convey personal feelings and ideas about relationships with other people. Technical as well as conceptual abilities were drawn upon to produce a series of prints that depicted specific experiences I have had in life.Department of Art
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Paul, Mumme. "The Absurd beyond Modernism." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16599.
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While the absurd is usually associated with the modern subject, it is the purpose of this project to show how it is still relevant today. The concepts of end times, ecological disaster, and post-democracy are pressing concerns of the new millennium that emphasise the futility of being and a lack of political agency. Absurdity describes a similar condition, the feeling of purposelessness that results from the observation that life has no inherent meaning. A fundamentally modern condition of religious dispossession, this feeling is predominantly frustration, since it is impossible to determine the meaning of life through reason. In these cases, crisis seems unavoidable, insurmountable, and permanent, and these attitudes can be observed in works of art since modernism. The thesis aims to define the absurd by the special examination of works closely associated with the concept, which will allow the identification of a specific literary and artistic tradition originating in the nineteenth century and continuing to the present. This is achieved through the rigorous examination of works by Søren Kierkegaard, Albert Camus, Michel Houellebecq, and Bruce Nauman. Despite the fact that works reflecting the absurd respond to distinct historical conditions, they all express frustration at the limitations of human agency, and the incomprehensibility of life.
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Park, Philip Yong-Hyun. "The absurd and the comic." Texas A&M University, 2008. http://hdl.handle.net/1969.1/85956.
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In my thesis, I propose a theory that posits a connection between our absurd
existential situation and our comic tendencies. I work within a framework of
existentialist assumptions, the most important of which being the assumption that, as
Sartre writes, "man is nothing else but that which he makes of himself." Consequently, I
focus on the process of how human beings use humor to form themselves by using it to
form their conception of reality. What I propose in my thesis is not an explanation of
humor as much as it is an existential interpretation of its source and function.
I begin with an analysis of the absurd. After considering and rejecting the
arguments against the claim that life is not absurd, I argue that the disunity that we
encounter in the world creates a need within us for stability and that one of the main
ways in which we find this stability is through the comic. I use Berger and Luckmann's
analysis of reality construction in my argument that the connections that we form with
others through comical experiences construct and maintain a system of knowledge that
satisfies what Camus calls our "nostalgia for unity," a desire that remains unfulfilled
when we attempt to encounter the absurdity of human experience alone. The conclusion
of my research is that it is through our laughing with others that we reify our expectations of reality. Our laughter at the objects that contradict our normative
understanding of reality confirms that others share the same cognitive and affective
position that we hold in a given situation, thus confirming our expectations of reality to
be valid, a confirmation that protects us against the terror of the absurd.
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Van, der Colff Margaretha Aletta Adams Douglas. "Douglas Adams : analysing the absurd." Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-08212008-183816.
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Street, Anna. "Comedy of the Impossible : The Power of Play in Post-war European Theatre." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040179.
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En retraçant le développement des théories de la comédie dans la philosophie occidentale, cette thèse avance que des préjugés l’ont empêchée d’être reconnue comme un genre littéraire sérieux. Il est montré que la place donnée à la comédie comme genre mineur pendant plus de deux mille ans correspond à un modèle éthique qui affirme, en distinguant le réel de l'Idéal, une vision néo-platonicienne de l'existence. Partant de l’analyse d’un phénomène théâtral précis dans l’Europe de l’après-guerre et à travers de nombreux exemples choisis parmi des pièces de cinq dramaturges différents, cette thèse propose trois principaux critères de la comédie : le statut ontologique des personnages comiques, la relation paradoxale de la comédie au monde des apparences, et son aptitude à permettre l'impossible. Opérant ainsi un renversement total des systèmes de valeurs et remettant en question une vision binaire, la comédie brouille les clivages entre l’abstrait et le concret, le mécanique et l’organique, et au bout du compte entre la vie et la mort. Il est démontré comment ce renversement s’accomplit de manière linguistique, métaphorique ou encore dramaturgique. L’étude conclut que la comédie bouleverse l'ordre socio-symbolique qui repose sur la logique du possibleBy tracing the development of theories of comedy within Western philosophy, this thesis claims that anti-comic prejudices prevented comedy from being recognized as a serious genre. Comedy’s inferior status for over two thousand years is shown to correspond to an ethical model that distinguishes the real from the Ideal and affirms a Neo-Platonic vision of existence. Through numerous examples taken from a particular phenomenon of post-war European theatre comprising five different playwrights, this thesis proposes three primary characteristics of comedy: the ontological instability of comic characters, comedy’s paradoxical relation to the world of appearances, and comedy’s willingness to accommodate the impossible. By throwing binaries into question and promoting a complete reversal of dominant value systems, comedy blurs the lines of distinction between the abstract and the concrete, the mechanical and the organic and, ultimately, between life and death. Demonstrating how this reversal is accomplished linguistically, metaphorically, or dramaturgically, this study concludes that comedy subverts the socio-symbolic order that relies upon the logic of possibility
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Rupp, Stephan. ""The English Ionesco" eine komparatistische Untersuchung des absurden Theaters N.F. Simpsons und Ionescos /." [S.l. : s.n.], 2003. http://www.freidok.uni-freiburg.de/volltexte/814.
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Ansari, Amna (Amna K. ). "Absurd machine : project on the National Mall." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/72615.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2012.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references.
America's symbols of governance, such as the ubiquitous state capitols and state capitol malls, are classically inspired European architecture and planning of reason and nature, adopted in America by Jefferson in 18th century as symbols of democratic institutions. These symbols are in contradiction to our evolving dialogue with democracy that are subject to laws of 'proper' use and extreme security. The National Mall as a symbol of democratic values, has been reduced to a synthetic image of stability built upon a preserved image that masks the underlying issues of a compromised territory of, unstable boundaries governed by ad-hoc laws, and privatized overtones that distort the otherwise democratic message embodied by these symbols of governance. Throughout American cities these same conditions are stifling otherwise democratic public spaces. This thesis articulates the representation of the last democratic space in America, post 9-11, as a critique based proposal that challenges our current and future negotiations with power in the built environment. Recognizing the challenge of a formal intervention upon a contradictory site, the National Mall will serve as the stage for testing a democratic space that communicates the asymmetrical relationships of public's dialogue with governance in 'public' spaces. While the Mall cannot be upheld as an egalitarian field, objects however can substantiate or infuse a democratic field within. This thesis justifies a form necessary to represent such a space, investigating compromised symbols that can be appropriated and redefined to provide functions and representation of conditions the National Mall distorts. The proposal infuses within the program responses to all major impositions of public spaces as a method of exposing the unstable conditions of democratic values residing on comprised fields. The purpose is not to render an ideal democratic space, but an independently operating machinelike space that highlights the context's incongruous relationships.
by Amna Ansari.
S.M.
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Park, Ji Hyun. "An existential reading of Camus and Dostoevsky focusing on Camus's notion of the absurd and Sartrean authencity." Thesis, Texas A&M University, 2005. http://hdl.handle.net/1969.1/5015.
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Albert Camus (1913-1960) describes morally corrupted society in his later fiction, The Fall (1956), yet, seeks to find authenticity to share the suffering of others to establish communal bonds and responsibility, specifically revealed in "The Growing Stone" (1957). Camus frequently denies his alignment with existentialism; yet, in his major novels, he frequent portrays a dark side of human existence: a sense of weariness with the habitual aspects of daily life and a keen awareness of the absurd lead Camusian heroes to complete nihilism and utter despair, which shows Camus's strong affinity with existentialist ideas. Further investigation of Dostoevsky's anti-hero, the underground man, and the demigod Kirilov reveals that Dostoevsky's vision of kingdom is not so optimistic in spite of dominant thematic concern of Christian resurrection and eternal life in Dostoevsky's major works. Only moral anarchy and spiritual sterility coexist in his kingdom. I, thus, investigate Dostoevksy's unique approach to existence without God, in which he eventually declares himself to be a forerunner of existentialism. Camus does, in fact, recognize Dostoevsky as an important predecessor. In particular, Camus examins Dostoevsky's depiction of alienated characters rebelling against the world as they understand it. Thus, in Chapter I, my focus lies in a discussion of the theory of the absurd, with Camus's The Myth of Sisyphus as a valuable supplement that opens the way for an existential approach to Camus's literary production. Having identified our condition of absurdity as a dilemma requiring a response, Camus (and our study) turns to Dostoevsky's reflections on modern antiheroes. In Chapter II, keeping my attention on The Myth of Sisyphus, I explore Dostoevsky's fictional character, Kirilov, of The Demons. Along the same lines, in Chapter III, I investigate Jean-Baptiste Clamence of The Fall (1956), with respect to the underground man in Dostoevsky's Notes from Underground (1864). Dostoevsky's two pre-existential works, however, fail to provide protagonists who possess authentic selfhood. Their rebellions are ultimately failures. Thus, I analyze D'Arrast of "The Growing Stone," in Exile and Kingdom (1958), who ultimately glimpses a potential for human solidarity and freedom in the fundamental structure of the human personality and social existence. This marks Camus's fullest expression of a response to a fundamental human dilemma which Dostoevsky's fiction helped him to grasp more fully.
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Gómez, Del Fierro Margarita María. "The absurd in "The country of last things"." Tesis, Universidad de Chile, 2005. http://www.repositorio.uchile.cl/handle/2250/110227.
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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa.Paul Auster is considered a postmodernist writer. His novels can be categorized under different genres, as, for example, science fiction, picaresque or detective novels. His influences are very wide and come from different sources such as fairy tales, his own unconscious and from a variety of writers, i.e. Nathaniel Hawthorne, Charles Dickens, Franz Kafka or Samuel Becket.
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Melin, Thomas. "Sista brevet till Godot : Utvandrarserien som absurd teaterpjäs." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-122294.
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Beiu, Papanastasiou Adela Nicoleta. "Absurd Romania : revisiting Tristan Tzara and Eugène Ionesco." Thesis, University of East Anglia, 2017. https://ueaeprints.uea.ac.uk/63136/.
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“Absurd Romania” revisits Romanian history and politics, and their intersection with the literary scene out of which both Tzara and Ionesco emerged, in order to better situate the diverse roots of European modernism and transnational avant-garde. I examine how their radical aesthetics developed in response to the specific political issues and cultural debates, which animated and inspired Tzara, Ionesco and their contemporaries. In the first chapter, I show that the writings of literary critic Titu Maiorescu and playwright I.L. Caragiale, two important exponents of a specifically Romanian ironic mode of cultural criticism, are highly relevant for an understanding of Tzara’s and Ionesco’s aesthetics. By revealing the points of contact between Ionesco’s cryptic forms and Caragiale’s seemingly more traditional dramaturgy, Chapter Two showcases the important aesthetic mutation at work in the theatre of the absurd. In Chapter Three, I document Tzara’s affiliation to a Romanian tradition of left-wing radicalism and engaged symbolism. The final chapter demonstrates that Ionesco’s theatre dramatizes a problematic Romanian modernity fraught with identity/cultural anxieties and political extremism. Ionesco’s aesthetics is both a continuation of the avant-garde project towards a critique of the ideology of language and a formal resolution of Romania’s identity qualms. Tzara and Ionesco’s forms, I argue, have deep roots in a Romanian tradition of social criticism which makes surprising use of irony in order to articulate conflicting visions of the nation.
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Grayson, Erik. "Towards a postmodern absurd : the fiction of Joseph Heller." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19693.
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This thesis examines the entirety of Joseph Heller's career as a novelist and explores the various existential themes uniting a seemingly diverse body of work. Considering Heller's relationship to the philosophy of Albert Camus and Jean-Paul Sartre, "Towards a Postmodern Absurd: The Fiction of Joseph Heller" suggests that the novelist promotes the same existentially authentic lifestyle of revolt originally articulated by the French existentialists. Refuting the critical assessment of Heller's fiction as formless, this thesis argues that Heller deliberately structures his fiction around the concept of dejd vu in order to buttress the author's existential concerns with the absurdity of human existence. Finally, in response to the recent debates over Joseph Heller's place in the postmodern American canon, the thesis identifies the author's use of such postmodern concepts as pastiche and paranoia as a further reinforcement of the relevance of an absurdist worldview in contemporary America.
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Ruffell, I. A. "A poetics of the absurd : reforming attic old comedy." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313106.
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Bowker, Matthew Hamilton. "Albert Camus and the political philosophy of the absurd." College Park, Md. : University of Maryland, 2008. http://hdl.handle.net/1903/8255.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2008.Thesis research directed by: Dept. of Government and Politics. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Abib, Joagda Rezende [UNESP]. "O teatro inovador de Natália Correia." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/91541.
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Sabe-se que a dramaturgia constitui um gênero que ainda não ocupa, nos currículos de Letras das universidades brasileiras, o mesmo espaço privilegiado que é dedicado ao estudo da poesia e da narrativa, e se isto é um fato que afeta mesmo o teatro produzido no Brasil, o que dizer então do teatro produzido além-fronteiras? O que dizer, por exemplo, do teatro produzido em Portugal ao longo do século XX? E o que dizer então daquela dramaturgia que é marginal no quadro deste teatro contemporâneo? É claro que pouco ou nada ouvimos falar, no Brasil, da literatura dramática de autoria feminina produzida em Portugal durante os tempos difíceis da ditadura salazarista. No entanto, pelo menos uma das dramaturgas que tentaram inserir seu nome no teatro produzido nesse período é merecedora de uma posição de destaque pelas peças que compôs. Natália Correia foi poetisa, ensaísta, romancista e dramaturga e é reconhecida principalmente por suas poesias. Porém, apesar de não ser reconhecida como dramaturga tanto quanto é como poetisa, a autora escreveu peças teatrais que merecem ser destacadas em meio à dramaturgia portuguesa devido ao caráter inovador de algumas das suas composições. A variedade de recursos cênicos nas suas peças, bem como a presença de elementos surrealistas e de características do Teatro do Absurdo, demonstram um certo vínculo estabelecido pela autora com estas duas estéticas. A nossa proposta, para a Dissertação de Mestrado, é a de um estudo de duas das peças teatrais produzidas por Natália Correia – O Homúnculo (1964) e O Encoberto (1969) –, com o intuito de esmiuçar os seus elementos componentes, relacioná-los com o Surrealismo e o Teatro do Absurdo e mostrar a inovação formal que caracteriza seu teatro
We know that, the theatre is not so much studied in Brazilian Universities. And if this happens here in Brazil, what can we say about the plays that were produced in Portugal during the 20 century? And what can we say about those plays that are considered marginal among the contemporary theatre? We sure don’t hear almost anything about the dramatic literature produced by Portuguese women during the difficult period of the salazarista dictatorship. But, at least one of the women who tried to insert their names among the theatre that was produced during this period, deserves being highlighted because of the plays she wrote. Natália Correia wrote poems, novels essays and plays and she is known around the world especially as a poet, but she should be known as a playwright as well because of her singular plays that show formal innovation. The large quantity of scenic resources used by the playwright in her plays and some characteristics from the Surrealism and the Theatre of the Absurd show that she is linked to these aesthetics. Our aim in this dissertation is to study two of the plays written by Natália Correia – O homúnculo (1964) e O Encoberto (1969) intending to show all their component elements, relating them to the Surrealism and the Theatre of the Absurd and show the formal innovation which is one of the main characteristics of her plays
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Palmer, Oliver Matthew. "Scripted performances : designing performative architectures through digital and absurd machines." Thesis, University College London (University of London), 2017. http://discovery.ucl.ac.uk/10038254/.
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‘Scripting’ in architecture is usually associated with computer-based design programming. However, this narrow usage belies a rich vein of concepts intrinsic to architecture and authorship. This thesis frames scripting as a critical mode of computation, performance, and design process. It does this through seven projects that explore relationships between technology, society, and the philosophical absurd. Works include films, performances, programmes and installations produced independently and collaboratively with experts from scientific and artistic fields. This thesis asks: how might an expanded definition of ‘scripting’ act as a critical methodology for performative architectural design?; how can this methodology mediate between, and comment on, technology and society?; and what is the relationship between scripting, authorship and agency? Computational scripting has been explored in depth by a number of practitioners and theorists; performative scripting has been examined within the context of theatre and artistic practice; this study adopts an expansive definition of scripting that embraces each of these approaches whilst simultaneously proposing scripting as a critical design methodology. Furthermore, the thesis introduces the philosophical ‘absurd’ as a framework for critiquing emergent technologies and their impact on society. In chapter 1, two projects (Ant Ballet, Godot Machine) are discussed as modes of diagramming absurd theatrical scripts. The ‘framing’ of these projects provides direction for further work within the thesis. Chapter 2 introduces two dance pieces (Nybble, Scriptych) which represent scripted performances and a novel computer-scripted feedback mechanism. Both are diagrammatic modes of presenting contemporary computing mechanisms. Chapter 3 then discusses two experimental computationally-scripted absurd films exploring the practices and impact of contemporary technology companies (86400, 24fps Psycho). Chapter 3 introduces a film (Network / Intersect) created through a novel design process imposing strict rules on the creation of work. It concludes by naming this practice ‘reflexive scripted design’, proposing it as the thesis’ main original contribution to knowledge.
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Marler, James. "Slapstick Carnage: The Absurd Universe of Cormac McCarthy's Blood Meridian." ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/519.
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The purpose of this thesis is to examine the function and effect of black comedy in Cormac McCarthy's Blood Meridian. Several different explanations for the presence of comedy in such a relentlessly violent novel have been made: that this humor is simply a realistic depiction of the folksy, dry vernacular of the time; that it reinforces the idea that the characters are so morally bankrupt that they are able to make jokes in the midst of so much destruction; or, that it serves to keep the reader's sensibilities in a state of flux between attraction and revulsion: relieving tension, then increasing it again and again, thereby defying easy structuring of how one should feel. This essay proposes that the gallows humor in the novel helps to establish an absurd universe (as delineated by Camus in The Myth of Sisyphus), and as this existential void is circumscribed, anything and everything in the novel becomes potentially farcical.
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Niedziela-Janik, Marta. "Realizm magiczny, absurd i dramat – próba interpretacji sztuk Niny Sadur." Doctoral thesis, Katowice : Uniwersytet Śląski, 2016. http://hdl.handle.net/20.500.12128/692.
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Niniejsza praca jest próbą przybliżenia oryginalnej twórczości dramaturgicznej współczesnej rosyjskiej pisarki z Nowosybirska, reżyserki i scenarzystki, miłośniczki i znawczyni teatru, znanej nie tylko w Rosji, ale w całej Europie i w wielu krajach na innych kontynentach.
Dramaturgia Niny Sadur nie jest błaha i stereotypowa, to zjawisko niezwykłe, wywołujące kontrowersje i żarliwe dyskusje w literaturze krytycznej. Twórczość Sadur charakteryzuje się wieloznaczeniowością i właśnie ta cecha jej utworów dramaturgicznych jest przyczyną najróżniejszych interpretacji. Sztuki ukazują współczesnego człowieka, jego samotność, żałosne jestestwo i desperackie poszukiwania swojego miejsca w świecie. Właśnie człowiek zawsze znajduje się w centrum zainteresowania pisarki, która swoją twórczością sygnalizuje największe – jej zdaniem – zagrożenia mogące wystąpić w jego życiu. Sadur w swoich dramatach zdecydowanie wskazuje na liczne przejawy zwycięstwa demonicznych sił, na to, że racjonalnie myślący człowiek we współczesnym świecie utracił poczucie bezpieczeństwa, pewności i stabilności. Jest to rezultatem, między innymi, zerwania więzi z przyrodą oraz z tradycją, na którą składają się dawne wierzenia, obyczaje, określony sposób myślenia i postępowania. Dlatego ratunku dla współczesnego człowieka autorka upatruje w szeroko rozumianej magii, która pomóc ma w pozbyciu się własnej „rzeczowości” i w osiągnięciu wyższego wymiaru istnienia.
Sztuki Sadur są analizowane w pracy w kontekście szeroko rozumianego realizmu magicznego. Przejawia się on w światopoglądzie, świadomości społecznej, artyzmie i poetyce utworów. Realizm magiczny zmienia sposób rozumienia pojęcia realizm, dopełnia, poszerza i pogłębia obraz zjawisk realnych w świecie przedstawionym. Najważniejszy jest realizm,
ponieważ stawia sobie za cel ukazanie świata, nie zaś jego wymyślenie. Magia, choć również istotna – uzależniona jest od realizmu. W konstrukcji wątku, bohatera i świata widoczne są ślady niesamowitości, transcendentalności i metafizyczności. Jednak wszystkie fantastyczne elementy wpisują się w codzienność jako jej bezsporne, integralne i naturalne części. Tylko wtedy osiągnięta zostaje równowaga między sferami realną i magiczną. Dlatego tak ważne jest, aby nie wydzielać elementów fantastycznych, nie wyróżniać i nie objaśniać ich odmiennego charakteru. Wszystkie sztuki Sadur rozpoczynają się w sposób realny, ale stopniowo wątek zaczyna nabierać cech tajemniczości, wypełnia się mistycznymi asocjacjami. Zawsze jednak granica pomiędzy światem znanym a nieznanym pozostaje mglista tak, aby oba mogły wzajemnie w siebie wnikać, przeplatać się ze sobą. Elementy magiczne nie deformują rzeczywistości, a stanowią jej naturalny element, dlatego Sadur nigdy nie wyjaśnia ich pochodzenia. Nadnaturalność nie dominuje w sztukach Sadur, ale równocześnie jest ich istotną częścią, bez której cały obraz świata nie mógłby istnieć.
W pierwszym rozdziale pracy analizowana jest problematyka pozornej nieobecności realizmu magicznego w wybranych sztukach Sadur. Poruszony został problem przekształcenia fikcji w rzeczywistość oraz anektowania realności przez teatr. Dzięki tym zabiegom badacz dramatu może zgłębić strukturę opisanego w utworze społeczeństwa wraz z ukrytymi w nim możliwościami oraz siłami, ale także ze wszystkimi niedoskonałości, których na co dzień się nie dostrzega. W omówionych dramatach Sadur odwołuje się do przestrzeni bliskich zarówno jej, jak i wielu innym obywatelom Rosji. Eksponuje w nich bardziej realną niż magiczną stronę rzeczywistości, jednak w każdej sztuce czyni to tak, by odbiorca mógł wyczuć, że pod ową normalnością i codziennością kryje się coś mrocznego, niezwykłego i tajemniczego. Ma mu w tym pomóc szeroko rozumiane szaleństwo, które w różnych formach ujawnia się u poszczególnych postaci. Sztuki Sadur ukazują moment przełomowy w ich życiu, kiedy np. mieszkanie w komunałce czy praca sprzątaczki stają się nie do zniesienia, kiedy chaos zaczyna pomagać, a porządek unicestwia wszelką indywidualność. Wtedy realizm ustępuje miejsca magii, a szaleństwo pomaga bohaterowi odkryć swoją przynależność do świata.
W drugiej części rozpatrywane są zasady gry Sadur cudzym tekstem i słowem. Przełom XX i XXI wieku to punkt kulminacyjny form wtórnych, dramaturdzy starają się odtworzyć dzieła klasyków, przekształcając je i dostosowując odpowiednio do nowej epoki. W tę tendencję wpisuje się także Sadur, która grając z tradycjami jednocześnie gra czytelnikiem, podpowiadając, że
wykorzystanie znanych tekstów nie zawsze służy do wyrażenia ustalonych niegdyś światopoglądów. Niewyczerpanym źródłem inspiracji dla pisarki jest Mikołaj Gogol – genialny pisarz, któremu stara się oddać hołd. Autor Martwych dusz zafascynował ją jako przedstawiciel realizmu magicznego, przy pomocy którego piętnował on rzeczywistość. Sadur w swoich remarkach ponownie odkrywa nieco zapomniane znaczenia, kreując jednocześnie nowe kody i eksplorując współczesną rzeczywistość. Dialog tradycji z nowatorstwem prowadzi do refleksji nad stanem współczesnego społeczeństwa rosyjskiego i stanowi próbę przywrócenia równowagi w realnym świecie
Sadur wnikliwie obserwuje otaczający świat dostrzegając w nim niezwykłość, cudowność. Jej sztuki poprzetykane są mistycznymi wrażeniami i odczuwaniem tajemniczości oraz wieloaspektowości świata, który pomieścić może zaskakującą ilość zła w różnej postaci. Omawiane dramaty zawierają w sobie obszerny kontekst mitologiczny i folklorystyczny, pojawiają się w nich postacie Baby Jagi, diabła, szamanki, pojawia się Matka Ziemia, a towarzyszy im motyw katastrofy. Twórczość Sadur tworzy atmosferę kataklizmu, upadku świata, akcja jej sztuk toczy się „na granicy”. Tej problematyce poświęcony został trzeci rozdział pracy. Przerażające elementy, zagadki, tajemnice łączą się tu z ludowymi wierzeniami i magią, aby dać czytelnikowi możliwość spojrzenia na codzienne życie, a także zajrzenia w głąb swoich myśli i uczuć. Absurdalność wyróżniająca dramaty Sadur pozwala nawiązać do twórczości oberiutów. Wraz z cudownością i innością stanowi element decydujący o oryginalności omawianych sztuk.
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Fiedler, Randy M. "Possibilities for Humanism in a Contemporary Setting: Camus' Absurd Humanism." Miami University Honors Theses / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1165600212.
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Ebury, Katherine. "'Absurd lights' : early twentieth century cosmology and the modernist universe." Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/2790/.
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This thesis examines the impact of early twentieth century physics, particularly the sciences of astronomy and cosmology, on the work of W. B. Yeats, James Joyce and Samuel Beckett. I seek to find and make critical use of the traces of Einstein’s cosmic revolution in the aesthetic and philosophical trajectory of modernism. In the chapters that follow, I examine Yeats, Joyce and Beckett as test-cases for modernist aesthetic responses to a universe that had been newly imagined by scientists. In different ways the new cosmology offers a rich source of imaginative as well as narrative and poetic possibilities for these writers. Moreover, although I discuss their work in separate chapters, I have found many connections between their responses, particularly in terms of the new idealist philosophy that came out of popularisations of the new physics. In this sense my approach also offers new ways of talking about Yeats, Joyce and Beckett in relation to each other. The opening chapter begins with a history of relativistic science and its popularisation, then moves on to discuss the reception of relativistic science both within modernism and in the wider contemporary culture, reframing modernism in relation to scientific ideas and discourses. I explore aesthetic responses to this science by authors as different as Thomas Hardy and Ezra Pound, with a view to situating Yeats, Joyce and Beckett within this culture and highlighting their greater receptivity to such ideas. The chapter then moves to a specific consideration of the specialised fields of astronomy and cosmology, explaining the major changes wrought by the Einsteinian revolution and preparing the ground for a discussion of their effect on the works of my authors. The second chapter addresses Yeats’s complex engagement with the new physics and its cosmology, reading against naive critical portrayals of him as entirely anti-scientific. The chapter also offers an account of science in relation to a narrative of Yeats’s whole poetic career, moving from discussions of his longing for an alternative to Newtonian physics in his portrayal of the unpredictable stars in the poems of The Wind Among the Reeds to the strange cosmic, astronomical and occult shapes of A Vision and the later poetry. The third and fourth chapters discuss Joyce’s interest in astronomy and cosmology; in chapter three, I focus on the inspirational power of cosmology in relation to the development of his oeuvre from Portrait to Finnegans Wake. The fourth chapter offers an extended close-reading of a passage from II.1 of the Wake, in which the sudden appearance of the cosmic science of spectroscopy transforms the children’s game of riddles depicted in the chapter into a much more complex problem. In both these chapters, I suggest the salutary aesthetic potential of the difficulty of the new physics when juxtaposed with the difficulty of Joyce texts; the more complex, contested and puzzling universe of contemporary physics suited Joyce much better than the Newtonian science which he sometimes parodied as imperial and monological. Finally, I turn to Beckett’s late modernism in the fifth and sixth chapters. The fifth chapter addresses his novel Murphy in relation to his portrayal of cosmic connections between chaos and absurdity. Beckett’s novel seems increasingly unlike a Newtonian world, as realist frameworks are deliberately undermined by a far more relativistic and chaotic narrative technique. By ‘The Trilogy’, the subject of my sixth and final chapter, which focuses on cosmic and astronomical light in these three novels, Beckett has created a semi-relativistic cosmos in which realist narrative and Newtonian causality are, at first, in Molloy, radically compromised, and finally, in The Unnameable, proved untenable.
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Hodgkinson, David. "Manifestly absurd or unreasonable?: The reinterpretation of the ABM Treaty." Thesis, Hodgkinson, David (1996) Manifestly absurd or unreasonable?: The reinterpretation of the ABM Treaty. Masters by Research thesis, Murdoch University, 1996. https://researchrepository.murdoch.edu.au/id/eprint/51245/.
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This thesis examines the two competing interpretations of the Treaty on the Limitation of Antiballistic Missile Systems (the "ABM Treaty") and establishes which of these interpretations is the correct one. It applies the principles of treaty interpretation as provided for in the Vienna Convention on the Law of Treaties and, through that application, it shows that the correct interpretation of the ABM Treaty is the narrow one. It is established here that the only reasonable conclusion to be drawn from an analysis of the treaty as a whole, taking into account its object and purpose, the plain, ordinary meaning of its terms, the scheme of the treaty and its history, is that only a narrow reading of that treaty is tenable.
The sources of information used in this thesis include international conventions and treaties; decisions of national and international courts which have concerned such conventions and treaties; reports and publications of the United States government; and such secondary sources of information as books, monographs and journal articles. In particular, I have used records of proceedings and debates on the ABM Treaty, and reports tabled with regard to that treaty, in the United States Senate. Above all, I have had recourse to the text of the ABM Treaty itself. This thesis is my own account of my research; the work of others has been used only where appropriate in the course of the proper development of the thesis.
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Abib, Joagda Rezende. "O teatro inovador de Natália Correia /." Araraquara : [s.n.], 2010. http://hdl.handle.net/11449/91541.
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Orientador: Renata Soares JunqueiraBanca: Maria Lúcia Outeiro Fernandes
Banca: Flávia Cristina de Souza Nascimento
Resumo: Sabe-se que a dramaturgia constitui um gênero que ainda não ocupa, nos currículos de Letras das universidades brasileiras, o mesmo espaço privilegiado que é dedicado ao estudo da poesia e da narrativa, e se isto é um fato que afeta mesmo o teatro produzido no Brasil, o que dizer então do teatro produzido além-fronteiras? O que dizer, por exemplo, do teatro produzido em Portugal ao longo do século XX? E o que dizer então daquela dramaturgia que é marginal no quadro deste teatro contemporâneo? É claro que pouco ou nada ouvimos falar, no Brasil, da literatura dramática de autoria feminina produzida em Portugal durante os tempos difíceis da ditadura salazarista. No entanto, pelo menos uma das dramaturgas que tentaram inserir seu nome no teatro produzido nesse período é merecedora de uma posição de destaque pelas peças que compôs. Natália Correia foi poetisa, ensaísta, romancista e dramaturga e é reconhecida principalmente por suas poesias. Porém, apesar de não ser reconhecida como dramaturga tanto quanto é como poetisa, a autora escreveu peças teatrais que merecem ser destacadas em meio à dramaturgia portuguesa devido ao caráter inovador de algumas das suas composições. A variedade de recursos cênicos nas suas peças, bem como a presença de elementos surrealistas e de características do Teatro do Absurdo, demonstram um certo vínculo estabelecido pela autora com estas duas estéticas. A nossa proposta, para a Dissertação de Mestrado, é a de um estudo de duas das peças teatrais produzidas por Natália Correia - O Homúnculo (1964) e O Encoberto (1969) -, com o intuito de esmiuçar os seus elementos componentes, relacioná-los com o Surrealismo e o Teatro do Absurdo e mostrar a inovação formal que caracteriza seu teatro
Abstract: We know that, the theatre is not so much studied in Brazilian Universities. And if this happens here in Brazil, what can we say about the plays that were produced in Portugal during the 20 century? And what can we say about those plays that are considered marginal among the contemporary theatre? We sure don't hear almost anything about the dramatic literature produced by Portuguese women during the difficult period of the salazarista dictatorship. But, at least one of the women who tried to insert their names among the theatre that was produced during this period, deserves being highlighted because of the plays she wrote. Natália Correia wrote poems, novels essays and plays and she is known around the world especially as a poet, but she should be known as a playwright as well because of her singular plays that show formal innovation. The large quantity of scenic resources used by the playwright in her plays and some characteristics from the Surrealism and the Theatre of the Absurd show that she is linked to these aesthetics. Our aim in this dissertation is to study two of the plays written by Natália Correia - O homúnculo (1964) e O Encoberto (1969) intending to show all their component elements, relating them to the Surrealism and the Theatre of the Absurd and show the formal innovation which is one of the main characteristics of her plays
Mestre
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Stefanovski, Iva [Verfasser], and Schamma [Akademischer Betreuer] Schahadat. "Julije Knifer : Painter of Absurd / Iva Stefanovski ; Akademischer Betreuer: Schamma Schahadat." Tübingen : Universitätsbibliothek Tübingen, 2016. http://d-nb.info/1164038265/34.
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Wax, Shelby T. "Reclaiming the Female Suicide Narrative: Rebirth, a Plunge, and the Absurd." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/822.
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This thesis looks at female suicide in literature from the 1890s to 1970s in the novels The Awakening by Kate Chopin, Mrs. Dalloway by Virginia Woolf, and Play It As It Lays by Joan Didion. Looking at these female-penned novels in comparison the canon of Western literature, they all clearly indicate a change in the treatment of female protagonists suffering from loss. In The Awakening, suicide is represented as a rebirth. In Mrs. Dalloway, the protagonist suffers from a fragmentation of the self. In Play It As It Lays, the protagonist finds life through the Absurd.
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Artrip, Ryan Edward. "The Absurd and Film: From the Existential Moment to Metaphysical Revolt." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/72989.
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In recent cinematic history, films have often expressed through the experiences of characters an 'existential moment' in which fundamental assumptions about life are questioned and potentially rendered meaningless. The purpose of this project is to follow two accounts of this expressed moment in the 1999 films American Beauty and Fight Club, understanding them as such through particular readings of the philosophical articulations of Albert Camus. I analyze the social climates of liberalism and consumerism that might account for these expressions of discontent and anxiety at the same time I evaluate the validity of existential thought in the contemporary social world. Ultimately, I question what kinds of political qualms absurdity might render, using film experience as a venue to understand and evaluate these questions.Master of Arts
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Silva, Mariza Bicudo da. "Uma viagem ao absurdo: a formação técnica em arte dramática à luz da teoria crítica da sociedade." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/10323.
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The objective of this study was to investigate the training of trajectory of Technical Course in Dramatic Art. Starting from the premise that, over of its existence, important changes occurred, particularly in relation to the labor market in the arts and the increased number of people who are interested in this training type, were analyzed documents provided by schools, testimonials from students, collected by teachers of Theatre History and Dramatic Interpretation and notes made by teachers and pedagogical coordination during the course. Thus, were investigated: a) the profile of individuals who seek technical professionalization in theatre; b) the main characteristics of the approved in the selection process; c) the day by day in the classroom of one of classes this course. The analysis was performed based on ideas and concepts expressed by authors of the Critical Theory of Society, in specially, studies of T. W. Adorno and M. Horkheimer about the cultural industry and cultural background. For sometimes such ideas and concepts were related to the precepts of the Stanislavski system of scenic research, considering that these are the main theoretical reference used in the course. The results indicate that the course attracts residents of distant districts and cities, which use public transportation to their locomotion to school. Most of them have previous experience in the area, obtained in free courses promoted by public bodies, studied in public school, completed high school, but not attended superior level. Moreover, coexistence in group, promoted by the methodology used, was identified as essential and beneficial for students, because to provide the possibility of contact with the other and with art as a vehicle for self-knowledge and development of critical thinking. However, given the difficulties imposed by social conditions currently, the intention of the recent actors graduates is to remain in areas which offer greater financial stability, working with theatre only in free time
O objetivo deste trabalho foi investigar a trajetória de formação em um curso Técnico em Arte Dramática. Partindo da premissa de que, ao longo de sua existência, mudanças importantes aconteceram principalmente, em relação ao mercado de trabalho em artes e ao aumento do número de pessoas que se interessam por esse tipo de formação , foram analisados documentos fornecidos pela escola, depoimentos de alunos colhidos por professores de História do Teatro e Interpretação Dramática e apontamentos efetuados por docentes e coordenação pedagógica durante o curso. Dessa forma, foram investigados: a) o perfil dos sujeitos que buscam a profissionalização técnica em teatro; b) as principais características dos aprovados no processo seletivo; c) o dia a dia em sala de aula de uma das turmas do referido curso. A análise foi efetuada tendo como base noções e conceitos formulados por autores da Teoria Crítica da Sociedade, em especial, os estudos de T. W. Adorno e M. Horkheimer sobre a indústria cultural e formação cultural. Por vezes, tais noções e conceitos foram relacionados aos preceitos do Sistema Stanislavski de pesquisa cênica, uma vez que estes constituem a principal referência teórica utilizada no curso. Os resultados encontrados indicam que o curso atrai pessoas residentes em bairros e cidades distantes, que utilizam transporte público para sua locomoção até a escola. A maioria delas possui experiência prévia na área, obtida em cursos livres promovidos por órgãos públicos, estudou em escola pública, concluiu o ensino médio, mas não cursou o superior. Além disso, a convivência em grupo, promovida pela metodologia utilizada, foi apontada como essencial e benéfica pelos alunos, por proporcionar a possibilidade do contato com o outro e com a arte, como veículo de autoconhecimento e desenvolvimento do senso crítico. Entretanto, em razão das dificuldades impostas pelas condições sociais, na atualidade, a intenção dos recém-formados atores é permanecer trabalhando em áreas que ofereçam maiores chances de estabilidade financeira, dedicando-se à profissão de ator somente em horas de tempo livre
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Dungan, Drew W. "South Park and absurd culture war ideologies the art of stealthy conservatism /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
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