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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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Garofalo, Peter, Louis Kibler, John Michael Stuart, and Louis Kibler. "Ezio D'errico's Theater of the Absurd: Three Plays." Theatre Journal 45, no. 1 (March 1993): 126. http://dx.doi.org/10.2307/3208599.
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Bussino, Giovanni R., Louis Kibler, and John Michael Stuart. "Ezio d'Errico's Theater of the Absurd: Three Plays." Italica 71, no. 2 (1994): 247. http://dx.doi.org/10.2307/480019.
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Bulyulina, Elena. "Social Part-Time Employment: Soviet Theater of the Absurd." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 3 (July 2020): 21–30. http://dx.doi.org/10.15688/jvolsu4.2020.3.2.
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Introduction. The article is devoted to the Soviet propaganda campaign of 1931–1934, which was called “sotssovmestitelstvo” (social part-time employment). To date, there are no studies on this issue. Methods and materials. The author uses the following methods: historical-genetic, archival-heuristic, source studies, classification, historical description and actualization. The sources for the research were archival documents, periodical press materials, normative legal acts and propaganda works of the first half of the 1930s. Analysis. Social part-time employment meant that workers after completing a shift at the enterprise would have to voluntarily and free of charge perform certain functions in public institutions. The theoretical basis of the campaign was the idea of Lenin about the possibility of the permanent and direct participation of the proletariat in the management of the state. The ideologists of the campaign tried to create the illusion of mass participation of workers “from the machine”. For this purpose directors of plants were obliged to send part-time employees to state institutions, and heads of institutions – to create working conditions for them. The authorities declared the thesis on the advantage of the working class over the intelligentsia and its high moral qualities, which it a priori has due to its social origin. It was assumed that these qualities will allow workers to identify shortcomings in the work of state institutions and make proposals for the improvement of the state apparatus. The author of the publication shows how the campaign began, passed and ended, what its real results were. Results. According to the author, the following circumstances were the reason for the campaign: the economic situation forced the authorities to prohibit mass mobilization of workers from production to participate in various campaigns of party-Soviet bodies, but at the same time partySoviet ideologists were not going to abandon the thesis of the participation of workers in public administration. The campaign could not collapse completely and was forgotten for many years.
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Kane, Stephanie. "General Noriega's Toads: An Ethnographic Theater of the Absurd." Social Text, no. 49 (1996): 173. http://dx.doi.org/10.2307/466899.
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Wang, Jing. "The Religious Meaning in Waiting for Godot." English Language Teaching 4, no. 1 (February 28, 2011): 197. http://dx.doi.org/10.5539/elt.v4n1p197.
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Waiting for Godot is one of the classic works of theater of the absurd. The play seems absurd but with a deep religious meaning. This text tries to explore the theme in four parts of God and man, breaking the agreement, repentance and imprecation and waiting for salvation.
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Vogel, Shane. "Waiting for Godot and the Racial Theater of the Absurd." PMLA/Publications of the Modern Language Association of America 137, no. 1 (January 2022): 19–35. http://dx.doi.org/10.1632/s0030812921000766.
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AbstractThis essay argues that the 1957 Black-cast revival of Samuel Beckett's Waiting for Godot stages an Africana absurd sensibility that precedes and supersedes European philosophies of absurdism. While the Continental absurd developed as a repudiation of Western reason and aspired to a universalizing assessment of the human condition, the Africana absurd is situated in the historical formation of racial slavery and colonialism. More specifically, the Africana absurd is a response to the formal meaninglessness and incoherencies of Western racial logic. Locating it within the existential and historical situation of Black theater in the Jim Crow era and attending to theatrical elements such as casting, stage props, and choreography, this essay shows how the production recasts Beckett's absurdism, metatheatricality, and antihumanism to present, rather than represent, the felt absurdity of racial modernity.
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Hussein Sagheer, Safaa, and Mehdi Abbass Mohsin. "The Tragic Sense in The Theatre of The Absurd: The Case of Pinter's Birthday Party." Journal of Education College Wasit University 2, no. 45 (December 21, 2021): 531–46. http://dx.doi.org/10.31185/eduj.vol2.iss45.2311.
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Absurdity is one of the prominent philosophy associated with the emergence of modernist and postmodernist movement in literary text. In such texts, we notice that the embedded themes and ideas reflect the dilemma and the suffering of modern man. The purpose of this paper is an attempt to clarify the subtle feeling associates with the appearance of modernist and postmodernist movements, discussing the ideas of absurdity and absolutism. Also, it gives an idea about the sense of sickness associates with the anomalies of the human conduct on the projected scene such as a universe of meta--identity, named the hilarious theater. This type of theatre is commonly known as absurd theater as discovered by Martin Julius Esslin (1918-2002), who created this phrase to explain Meta identity has been substantially reinterpreted through an exterior identity mask, which invigorates one of the postmodern ideological conceptions of the enormous humanity. The paper consists of three sections: the first is an introduction to Pinter's Birthday Party. The second section discusses the concept of absurdity and the reason of its emergence. The third section deals with how absurd themes reflect the pain, the sense of loss and void that modern man experiences amid the chaotic world specifically after WWII. Finally, the study ends up with conclusion and recommendations for further studies
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Elsky, Julia. "Rethinking Ionesco's Absurd: The Bald Soprano in the Interlingual Context of Vichy and Postwar France." PMLA/Publications of the Modern Language Association of America 133, no. 2 (March 2018): 347–63. http://dx.doi.org/10.1632/pmla.2018.133.2.347.
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Rereading Eugène Ionesco's postwar play La cantatrice chauve (The Bald Soprano) in the light of the original, wartime Romanian version alongside archival materials concerning his political activity in Vichy France allows us to reconsider his role in the theater of the absurd. Instead of staging the emptiness of language in a conformist world, the Romanian play dramatizes how language and language exchange created meaning but also upheld state violence during the Second World War. Although the French version of the play adapts this theme to the postwar context, traces of state power over language remain. his new approach to a central text of the theater of the absurd invites us to reexamine the politics of language and language learning in wartime and postwar France.
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Kurmelev, A. Yu. "THEATER OF THE ABSURD PHILOSOPHY AND TRADITIONS IN LATER PLAYS." KAZAN LINGUISTIC JOURNAL 6, no. 3 (2023): 313–23. http://dx.doi.org/10.26907/2658-3321.2023.6.3.313-323.
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Yasa, I. Nyoman. "DUNIA ABSURD DAN PERLAWANAN KELAS PADA DRAMA DAG-DIG-DUG KARYA PUTU WIJAYA." Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa 3, no. 2 (July 15, 2010): 136. http://dx.doi.org/10.24036/ld.v3i2.7374.
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Research on drama in Indonesia is an effort to apply and express the theory in Indonesia. Naturally a theory existence from research accumulation to applied skills. It is hoped that this research can accumulate the science, mainly drama. The term of absurd was used by Martin Esslin for kind of theater that used the failure of language as main of communication. Besides, this term is popularized by Eugene Ionesco. He is a writer of absurd theater. Many of his drama already translated and performed in Indonesia. The data that already collected is analyzed by using the concept of absurdity to reveal the absurdity in Dag-Dig-Dug drama. In other side, the concept of class from Karl Marx is used to comment the domination and class resistance that are taken from Dag-Dig-Dug drama. Dag-Dig-Dug shows the social problems, mainly domination and hegemony of powerful person toward proletarian people. The domination and hegemony are in form of physics and psychology.
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D'aponte, Mimi Gisolfi. "Review: Pier Paolo Pasolini and the Theatre of the Word: Ezio d'Errico's Theater of the Absurd." Forum Italicum: A Journal of Italian Studies 26, no. 2 (September 1992): 414–16. http://dx.doi.org/10.1177/001458589202600218.
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França, George Sand, Ricardo Cruccioli Ribeiro, Luana Rosa Soares, João Calmoni, Gabriel B. de França, and Paulo Eduardo Brito. "The Flat Earth satire: using science theater to debunk absurd theories." Geoscience Communication 4, no. 2 (June 1, 2021): 297–301. http://dx.doi.org/10.5194/gc-4-297-2021.
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Abstract. Science needs everyone and everything; therefore, art must be used for its understanding. As the popularity of social media grows, absurd theories have been gaining consensus and, even worse, becoming factual truths without any criticism for many. Thus, aiming to find solutions for a better understanding of our scientific theories, the project “The earth is flat! And, now what?” was created. This project uses performing art as the main communicator to spread science. The first step consisted of calling a meeting to promote integration among the project participants and professionals from different areas of expertise such as geophysicists, art educators, artists, astronomers, and clowns. The meeting was also an occasion for planning the show. The second step consisted of developing the dramaturgy along with the creative process, which involved discussions on scenes and lessons about the theme to be presented, and the third step was the performance. The bibliographical review, the equivalent of the “table's work” for artists, was not based on indexed journals, but rather on social networks and classes for understanding the shape of the Earth. The show impacts the audience in a fun way, offering the opportunity for the general population to experience science in a new way.
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Suárez Rey, María Carmen. "Interpretación da obra "Auto do prisioneiro", de Ricardo Carvalho Calero." Revista de lenguas y literaturas catalana, gallega y vasca 25 (November 17, 2020): 85. http://dx.doi.org/10.5944/rllcgv.vol.25.2020.28901.
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Tocante ao teatro, Ricardo Carvalho Calero pódese considerar un inestimable contribuidor á creación e renovación do teatro galego do século XX, na etapa de posguerra. No seu teatro, sen adscrición a ningunha corrente literaria, podemos atopar dende propostas clásicas ata as máis modernas e mesmo algunhas moi próximas ao simbolismo e ao expresionismo. Auto do prisioneiro é a súa obra preferida e unha das máis representativas. Tematicamente, relicte un «problema existencial humano», cunha visión próxima ao teatro do absurdo e cargada de expresionismo e simbolismo. Unha obra da que cabe facer unha interpretación plural. As for Carvalho Calero’s playwrights, they can be considered an invaluable contributor to the creation and renewal of Galician theater in the twentieth century, in the postwar period. In his theater, without ascription to any literary current, we can ind from classical proposals to the most modern and even some very close to symbolism and expressionism. Auto do prisioneiro is his favorite work and one of the most representative. Thematically, it relects a «human existential problem», with a vision close to the theater of the absurd and laden with expressionism and symbolism. A work that can be interpreted in a plural way.
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Marrow, Joanne. "Theatre of the Absurd." Women's Review of Books 13, no. 5 (February 1996): 32. http://dx.doi.org/10.2307/4022296.
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Nicolaescu, Cristina. "The semantics of language in Eugène Ionesco’s plays." Swedish Journal of Romanian Studies 7, no. 1 (May 15, 2024): 13–21. http://dx.doi.org/10.35824/sjrs.v7i1.26049.
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The goal of this paper is to present the characteristics of Eugène Ionesco’s dramatic texts, a reason why the genre of avant-garde and theatre of the absurd are also considered, with a view to revealing their major ways of functioning. By pointing out the different dimensions of dramatic language, the emphasis is on those elements that differ from current oral and written language. Starting from the times of decadentism, a crisis of character can be noted in the theater around a type of individual who, as an alienated individual, cannot find his identity in a hostile surrounding world. One of the direct consequences of this crisis will be the impossibility of interpersonal communication, which will be best demonstrated with the concept and tenets of the theater of the absurd. In this context, the study of the theater of the 20th century is done from the perspective of cognitive semantics, as an autonomous level of language. The approach is organised around two notions: dramatic conventions and the actual language of the dramatic texts. The interpretative theory rooted in semantics is applied while analysing Ionesco’s short plays. The starting point is the linguistics of the text as described by Eugen Coşeriu. Capturing the meaning and the means by which it is constructed is one of the objectives in accord with the main principles of cognitive linguistics. The way of analysing the meaning in a text is given by the presence of some textual functions, as possibilities provided by language through relationships that the linguistic sign establishes in the discursive act. The specificity of the discourse comes from the combination of verbal and non-verbal elements, in order to highlight the playwright’s original style. The particularities of this type of language based on an ontological representation of the actional nature in human existence are also investigated. There are two dimensions recognisable in the language of literature: one is specific to the genre and the other one is particular, giving originality and uniqueness. The textual meaning in between these dimensions needs to be reconstructed from all their constituents identifiable at different levels of analysis. Ionesco distanced himself from the conventional and traditional theatre, finding a new formula for the dramatic genre in his own vision of what drama should be like. Ionesco’s dramatic work includes short plays and extensive plays in which the author expresses his adversity against totalitarian regimes. He is the representative of the theater of the absurd and anti-theater. The corpus for this research is composed mainly of the plays The Bald Soprano, The Lesson and The Chairs, the most representative plays for the avant-garde spirit, short plays on the theme of language emptied of meaning and non-communication. Language has an impact on thinking and the resulting actions, which relates it to the ontology of human existence. As dramatic language is preponderently structured on dialogical interactions (and less on monologues, soliloquies and asides), its essence can be revealed by decomposing and recomposing them, from the angle of the conventions specific to the dramatic genre. The analysis of the selected fragments from the corpus has the role to highlight their semantic features in terms of conceptual representations.
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Исмаил гызы Дадашева, Ирада. "The genre of monodrama in the work of S.Beckett." SCIENTIFIC WORK 71, no. 10 (October 23, 2021): 7–11. http://dx.doi.org/10.36719/2663-4619/71/7-11.
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The article analyzes the text of the play by S. Beckett "Krapp's Last Ribbon", written by the author in 1958. The peculiarity of the poetics of monodrama in the period of crisis in the history of Western European theater is shown. The main theme of the play is loneliness. Complete loneliness was not only a theme, but also an aesthetic prerequisite that determined the very manner of the actor's play. Key words: monodrama, theater of the absurd, creation, contradiction, public conscience
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Sathotho, Surya Farid. "ABSURDITY IN PUTU WIJAYA’S SHORT PLAY." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 18, no. 2 (September 13, 2021): 76–82. http://dx.doi.org/10.24821/tnl.v18i2.4458.
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Short play known as Drama Pendek (Drapen) is the latest form of Putu Wijaya's work. The play only ranges from two to twelve pages. From the number of pages, it is assumed that the drapen performance will only last five to ten minutes. Although only a short duration, Putu Wijaya is consistent with the aesthetic concept of terror. This concept, if traced further, is a derivative of the concept of the theater of the absurd. To see the possibility of performing the drapen, an analysis of the structure and texture of randomly selected drapes will be carried out. The analysis is carried out with a theoretical approach that sees the terror in the structure and texture in a drafted text. It is hoped that the results will show whether the short play meets the rules of dramaturgy to be performed on stage Key words: Short play, Theater of the Absurd, Putu Wijaya
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Hashamova, Yana. "The Socialist Absurd, the Absurd, and the Post-Absurd—A Syndrome of Contemporary Bulgarian Theatre." Canadian Slavonic Papers 36, no. 3-4 (September 1994): 439–48. http://dx.doi.org/10.1080/00085006.1994.11092066.
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Wetterau, N. "SY14-4 * MEDICAL MARIJUANA IN NEW YORK STATE: THEATER OF THE ABSURD." Alcohol and Alcoholism 49, suppl 1 (September 1, 2014): i14. http://dx.doi.org/10.1093/alcalc/agu052.59.
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Gordon, David. "The Woozle and the Theater of the Absurd: An Examination of an Examination." Curriculum Inquiry 19, no. 2 (1989): 221. http://dx.doi.org/10.2307/1179412.
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Ковальова, Н., and В. Левченко. "ABSURD AND OPTICS OF COMIC IN THE MUSICAL THEATER OF THE XXth CENTURY." Doxa, no. 1(33) (September 15, 2020): 149–57. http://dx.doi.org/10.18524/2410-2601.2020.1(33).211977.
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Cameron, Maxwell A., and Jason Tockman. "A Diplomatic Theater of the Absurd: Canada, the OAS, and the Honduran Coup." NACLA Report on the Americas 43, no. 3 (May 2010): 18–22. http://dx.doi.org/10.1080/10714839.2010.11722199.
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Sundén, Jenny, and Susanna Paasonen. "“We have tiny purses in our vaginas!!! #thanksforthat”: absurdity as a feminist method of intervention." Qualitative Research Journal 21, no. 3 (March 18, 2021): 233–43. http://dx.doi.org/10.1108/qrj-09-2020-0108.
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PurposeAccording to thesaurus definitions, the absurd translates as “ridiculously unreasonable, unsound, or incongruous”; “extremely silly; not logical and sensible”. As further indicated in the Latin root absurdus, “out of tune, uncouth, inappropriate, ridiculous,” humor in absurd registers plays with that which is out of harmony with both reason and decency. In this article, the authors make an argument for the absurd as a feminist method for tackling heterosexism.Design/methodology/approachBy focusing on the Twitter account “Men Write Women” (est. 2019), the rationale of which is to share literary excerpts from male authors describing women's experiences, thoughts and appearances, and which regularly broadens into social theater in the user reactions, the study explores the critical value of absurdity in feminist social media tactics.FindingsThe study proposes the absurd as a means of not merely turning things around, or inside out, but disrupting and eschewing the hegemonic logic on offer. While both absurd humor and feminist activism may begin from a site of reactivity and negative evaluation, it need not remain confined to it. Rather, by turning things preposterous, ludicrous and inappropriate, absurd laughter ends up somewhere different. The feminist value of absurd humor has to do with both its critical edge and with the affective lifts and spaces of ambiguity that it allows for.Originality/valueResearch on digital feminist activism has largely focused on the affective dynamics of anger. As there are multiple affective responses to sexism, our article foregrounds laughter and ambivalence as a means of claiming space differently in online cultures rife with hate, sexism and misogyny.
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Ahmad, Mas Rynna Wati. "Closure: An Appropriated Technique in Malay Absurd Plays." Malay Literature 28, no. 2 (December 1, 2015): 200–217. http://dx.doi.org/10.37052/ml.28(2)no2.
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The period of experimental theatre in the 1970s had brought a significant change in the history of modern Malay theatre. The plays that were produced and staged during this era had been categorized as absurd plays as they contained strong tendencies towards the application of the absurd theatre techniques. The most significant features of Western absurd plays would be that the play would end the way it begins; this cycle emphasizes the meaninglessness of life portrayed by the absurd playwrights. However, the scenario in Malaysia is different. Sensitive to the social and religious background of the Malays, these playwrights made adjustments to the typical absurd techniques common practised in the West. As opposed an ambivalent and dark end of the plays, Malay absurd playwrights tend to present a sense of hope through the closures presented at the end of the plays. Hence the theatre scholar, Solehah (1990) termed this as theatre absurd “ala” Malaysia as a way to characterize the unique version of the plays. This paper intends to delve further into the method of closure used by the playwrights such as Dinsman in his play, It is Not a Suicide and the late Anuar Nor Arai’s play, Vacuum . The closures in the two plays are perceived as bringing a ray of light for the Malay absurd plays from being dark and inappropriate in the history modern Malay theatre into today’s popular eclectic mainstream that marked the end of the period of realistic plays. Keywords: absurd plays, closure technique, modern Malay drama, hope and realistic plays Abstrak Zaman teater eksperimental pada tahun 1970-an telah membawa satu perubahan besar dalam perkembangan teater Melayu moden. Teater yang dihasilkan pada era ekperimental bersifat absurd kerana pendekatan dan percubaannya yang cenderung ke arah falsafah absurd dari Barat. Teknik yang paling ketara dalam teater berbentuk ini ialah pengakhiran cerita berlaku seperti permulaan cerita yang menunjukkan kehidupan yang tiada makna. Namun demikian, teknik ini didapati tiada dalam teater Melayu beraliran absurd. Bersesuaian dengan masyarakat tempatan yang masih lagi kukuh berpegang kepada agama dan budaya, beberapa penulis telah melakukan pengubahsuaian dalam penghasilan karya teater mereka. Berbanding dengan teknik biasa dari Barat, iaitu tiada pengakhiran kepada setiap konflik yang diutarakan, teater absurd tempatan telah melakukan sebaliknya. Teater absurd Melayu memberikan harapan kepada persoalan yang diletakkan dalam plot cerita. Oleh yang demikian menurut Solehah (1970) teater absurd “ala” Malaysia mempunyai bentuk dan kelas yang tersendiri. Makalah ini akan memfokuskan kaedah yang digunakan oleh dua penulis teater, iaitu Dinsman, dalam Bukan Bunuh Diri dan Vakuum karya allahyarham Anuar Nor Arai. Pengakhiran cerita yang diberikan oleh penulis ini memberikan harapan kepada teater absurd Melayu yang tidak mendukung unsur pesimis dan putus harapan. Bentuk baharu ini, menunjukkan berakhirlah zaman teater realistik dalam tradisi teater Melayu moden. Kata kunci: teater absurd, teknik pengakhiran, teater Melayu Moden, harapan dan teater realistik
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Taraki, Lisa. "Occupation: a theatre of the absurd." Holy Land Studies 4, no. 1 (May 2005): 93–94. http://dx.doi.org/10.3366/hls.2005.4.1.93.
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Ванг Юй. "БАГАТОВИМІРНІСТЬ ВТІЛЕНЬ СЮЖЕТУ ТУРАНДОТ В ЖАНРІ ТЕАТРАЛЬНОЇ МУЗИКИ." World Science 3, no. 3(43) (March 31, 2019): 34–44. http://dx.doi.org/10.31435/rsglobal_ws/31032019/6419.
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The article deals with the historical projection of the 300-year-old path of the Turandot image in the genre of theatrical music. After completing all the stages of European exoticism in Chinese subjects, Turandot was embodied in the main stages of the development of musical drama - from the baroque French Fair Theater Fory Saint-Lauren (Le Sage / d'Orneval for the first time analyzed music by J.C. Gillіer) through the pre-classical model of Italian folk (K. Gozzi) to the concept of German romanticism (F. Schiller ‒ F. Destush, K.M. Weber, W. Lyahner), oriental readings of the early modern days: neoclassical (F. Buzoni), symbolist (W. Ferst), primitive-naive (Y. Vakhtangov), psychologically-expressionistic (W. Stenhammar), household-entertaining variants (Broadway Theater) and complex multicomponent phenomena of the second half of the twentieth century, embodied in the "epic theater" (B. Brecht / H. D. Hosalla, Y. Lakner, A. Schnitke) and means "Theater of absurd" (W. Hilderschmayer), based on postmodernistic parameters of hybrid genre formations in Ukrainian culture (M. Denisenko, I. Uryvskiy) in the globalized reference of intercultural communication of the beginning of the third millennium.
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Giroux, Henry A. "Trump's America: Rethinking 1984 and Brave New World." Monthly Review 69, no. 1 (May 2, 2017): 20. http://dx.doi.org/10.14452/mr-069-01-2017-05_2.
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With the rise of Donald Trump, U.S. politics has descended, like never before, into a theater of the absurd. Unbridled anti-intellectualism, deception, and "vindictive chaos" recall a morally reprehensible past in the guise of "making America great again." But despite his populist posturing, Trump's contempt for democratic processes is matched by his commitment to economic policies that favor the financial elite.Click here to purchase a PDF version of this article at the Monthly Review website.
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Roof, Judith. "The Totally Perceptive and Logical Illogic of the Avant-garde Dramatic Tradition; or Politics = Theater = Politics." Harold Pinter Review 7 (June 2023): 97–103. http://dx.doi.org/10.5325/haropintrevi.7.1.0097.
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ABSTRACT Turn-of-the-century ‘Pataphysician Alfred Jarry wrote several plays that showed the relation between theater and politics. In the absurd mode of ‘Pataphysics, both Ubu Roi and César Antichrist featured hyperbolically narcissistic and corrupt dictators that presaged political relations in the twenty-first century. Harold Pinter’s plays continue Jarry’s depictions of power, but in Pinter’s plays, the powerful figures have disappeared, replaced by invisible threats, again showing the ways the political is quintessentially theatrical.
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Almeshaal, Madhawy. "Giving Mirrors to Female Prisoners in Alice Birch’s [BLANK]." International Journal of Language and Literary Studies 3, no. 4 (December 5, 2021): 167–81. http://dx.doi.org/10.36892/ijlls.v3i4.766.
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The paper at hand attempts to interpret a contemporary British playwright’s theatrical artistic attempt to present a disturbing social issue and to suggest possible modes of help. In [BLANK], Alice Birch confronts the audience with the ugly cycle of women’s criminal conducts, female criminals’ offending and reoffending. The playwright employs the theater of the absurd as a theatrical medium through which she portrays the absurd reality of these female criminals and their families. To confront and shock the audience with the ugliness of these charterers’ reality, Birch uses In-Yer-Face theater. Birch suggests that the female criminal characters are victims who need proper psychological and medical rehabilitation services to break the ugly cycle of reoffending. The playwright implies a very challenging question for the audience: is it possible to break some patterns of some biological genetic behaviors? That is, can female criminals, in [BLANK], break away from their criminal behaviors that are biologically innate through the help of medicine and psychology not just through some practices of traditional stigmatizing forms of discipline and punishment in the justice system that are often proven to be unreliable means of constraint? By shocking and confronting society with the ugly reality of many female prisoners, in [BLANK], Birch is trying to give these pathetic female characters’ voices, mirrors, selves, forcing society to acknowledge them as human beings who have an essential role in society.
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Chen, Chang. "Revisiting the Absurd: Posthuman Affects in Samuel Beckett’s Theatre." New Theatre Quarterly 37, no. 4 (November 2021): 323–37. http://dx.doi.org/10.1017/s0266464x21000269.
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The ‘Theatre of the Absurd’, the popular label for Samuel Beckett’s theatre, has been challenged over the past decades before its implications were fully explored. This article reconsiders the ‘absurd’ with respect to Beckett and the human/nonhuman relations in the Anthropocene. It draws upon affect theory and posthumanism, arguing that the absurd in Beckett’s theatre takes root in the theatricalization of posthuman affects, which connect the human body and the non-human world. Posthuman affects subvert human sovereignty and disintegrate humans into nothingness. Yet they also give birth to a different cosmic ontology, which involves a call for change in the relationship between the human and the nonhuman. Revisited from the perspective of posthuman affect, the absurd in Beckett’s theatre acquires new complexities that bring glimmering possibilities of endurance and comfort in the face of catastrophe. Chen Chang is an assistant researcher of the English Department at Nanjing University, where she recently completed her PhD dissertation on Beckett and the posthuman body. She has published several articles on Beckett as well as in gender studies.
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Ahmad, Mas Rynna Wati. "EXISTENTIAL CRISIS IN ANUAR NOR ARAI’S “VACUUM”." Jurnal Pengajian Melayu 33, no. 2 (October 29, 2022): 146–61. http://dx.doi.org/10.22452/jomas.vol33no2.8.
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Abstract The period of experimental theatre in the 1970s significantly changed the history of modern Malay theatre. The plays staged during that era could be categorised as absurd because they contained strong inclinations towards absurd theatre techniques. The existential philosophy which underpinned the foundation of these works drew much controversy at its peak. This paper intends to highlight the portrayal of two main characters in Anuar Nor Arai’s “Vacuum” (Vakum) who are constantly in conflict: the Old Man, who resists change but wants to stay relevant, and the Young Man, who perceives existence as being present and believes that change should be accompanied by wisdom. This intergenerational conflict also reflects the existential crisis that makes the play unconventional. In addition, the paper delved into the existential conflicts experienced by the two characters and their respective journeys through the philosophical lens of existentialism. “Vacuum”, written in 1993, employed clever elements of absurd theatre techniques as it placed delicate issues into the mainstream discourse of local theatre at that time. Despite calling attention to various controversial issues through absurd theatre, such bold attempts by the playwrights are widely accepted today. Consequently, their boldness allows for more creative experimentation in the current mainstream Malay theatre. Keywords: Theatre of the Absurd, Malay Experimental Theatre, controversial, existential crisis, change Abstrak Zaman teater eksperimental pada tahun 1970-an telah membawa kepada perubahan yang signifikan dalam sejarah perkembangan teater Melayu moden. Teater yang dihasilkan pada era ini sering dikaitkan sebagai teater absurd kerana falsafah absurd yang sarat mendasari pembikinan dan pementasannya. Oleh itu, teater pada era ini sering menimbulkan kontroversi sepanjang era popularitinya. Kajian ini memfokuskan kepada dua watak utama yang sentiasa berada dalam konflik yang berterusan iatu, Orang Tua yang berkeras tidak mahukan perubahan dan mahu kekal relevan dalam masyarakat. Watak Orang Muda pula melihat kewujudan yang relevan itu sebagai keberadaan dalam keadaan semasa dan menerima arus perubahan dengan kematangan akal. Konflik jurang antara dua generasi ini memperlihatkan krisis eksistensi yang membuatkan karya ini bukanlah sebuah karya teater yang konvensional. Kajian ini juga membincangkan berkaitan permasalahan konflik eksistensi yang dialami oleh dua watak utama dan derita saraf yang mereka alami melalui lensa falsafah eksistentialisme. Vakum, tulisan Anuar Nor Arai, telah diterbitkan pada tahun 1993 dan telah mengaplikasikan elemen-elemen teater absurd dan mengangkat isu yang rumit dan jarang diperkatakan dalam karya teater Melayu ketika itu. Walaupun karya Teater Absurd Melayu telah mengangkat isuisu kontroversi melalui falsafah absurd, eksperimen berani yang telah dilakukan oleh dramatis pada zaman itu telah diterima baik oleh dramatis aliran kini. Eksperimen yang tidak konvensional ini telah membuka ruang kepada dramatis generasi kini untuk lebih berani dan kreatif berkarya tanpa kekangan dalam aliran semasa teater Melayu masa kini. Kata Kunci: Teater Absurd, Teater Eksperimental Melayu, kontroversi, krisis eksistensi, perubahan
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Modreanu, Simona. "A Different Approach to the “Theater of the Absurd” With Special Reference to Eugene Ionesco." Cultura 8, no. 1 (January 1, 2011): 171–86. http://dx.doi.org/10.2478/v10193-011-0011-2.
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Voitenko, L. I., and M. O. Kniazian. "TRADITIONS OF THE FRENCH THEATER OF ABSURD IN VICTOR SOLODCHUK’S PLAY “WHERE WE WERE EIGHT YEARS”." Writings in Romance-Germanic Philology, no. 1(50) (October 13, 2023): 29–42. http://dx.doi.org/10.18524/2307-4604.2023.1(50).285548.
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The article analyzes Solodchuk’s play «Where We Were Eight Years,» which was included in the electronic version of Anthology-24, published this year. The play is analyzed from the perspective of the French theater of the absurd, through the identification of common features in the play and in the plays written by S. Beckett and Ionesco, namely: a similar worldview, which is influenced by specific historical events, loss of the meaning of life, life without purpose and faith. The kaleidoscopic form of narrative organization, the absurdity and paradox of events, and the grotesque characters whose dialogues are reduced to a limited monologue, they do not understand each other. The form and style of the antidrama are subordinated to the effect of the evidence itself — the grotesque, the farce, brought to the point of excess, which reveals the monotony and meaninglessness of life. The desire to comprehend the universals of existence, the recurring patterns in human life are introduced into the text through the genre of parable, myth, symbol, and metaphor. The word loses its logical and grammatical connections, becomes grotesque, which leads to the loss of its meaning. The absurdist principle is also realized at the level of the figurative system of Solodchuk’s play, where the character appears as a multi-voiced entity. In the texts of the representatives of the theater of the absurd, attention is focused on material objects that replace the Other, so the role of things, objects, scenery increases, and to some extent they replace the object of communication for the characters. In Solodchuk’s play, the object is the Backpack, which is empowered with extraordinary abilities to take away aggression from the outside world. The open ending overcomes, even denies, the technique of ’exhaustiveness’ of dialogue in absurdist texts and appeals to the conceptual creation of the future.
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Gibson, Katie Cross. "Smith and Smitherson’s Theatre of the Absurd." Harold Pinter Review 6 (June 1, 2022): 97–109. http://dx.doi.org/10.5325/haropintrevi.6.1.0097.
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Cumbie-Jones, Claudia. "Computer animation and theatre of the absurd." ACM SIGGRAPH Computer Graphics 31, no. 2 (May 1997): 12–13. http://dx.doi.org/10.1145/271283.271287.
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Goldstein, Darra. "Russian Dining: Theatre of the Gastronomic Absurd." Performance Research 4, no. 1 (January 1999): 56–63. http://dx.doi.org/10.1080/13528165.1999.10871643.
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Jones, Julian. "Stanislavski and The Theatre of The Absurd." Stanislavski Studies 8, no. 2 (July 2, 2020): 247–64. http://dx.doi.org/10.1080/20567790.2020.1814554.
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Scheflan Katzav, Hadara. "The theater of motherhood." Feminismo/s, no. 41 (January 2, 2023): 297. http://dx.doi.org/10.14198/fem.2023.41.12.
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The basic premise of this article is that despite the many representations of mothers in the history of art, the maternal image has almost invariably been presented in the status of object, i.e., a reflection of the value system, interests, and perspective of the patriarchal culture, and not of the mother herself. This study examines the construction of the maternal ideal in western, particularly Israeli, culture, and suggests the turning point over the past twenty years as contemporary artist-mothers (mama’artists) have undermined this ideal. To avoid the traditional structure into which the mother has been relegated, the article adopts the matricentric perspective of Canadian scholar Andrea O’Reilly, who places the mother at the center of feminist discourse. With the understanding that the category mother intersects with, but is distinct from, the category woman, art scholarship must formulate more valid narratives. This paper has two goals. One is to examine how matricentric research can contribute to analysis of the work of artist-mothers. The second is to identify the tools in art that enable expression of the political-maternal subjectivity. The methodology proceeds from these goals, and includes the voice of the artist, her personal story, and her perspective as she creates an imagined art world. These were obtained by studio meetings with the artist, personal interviews, and a gender analysis of the art. The video series under study was created between 2005 and 2015 by Mali De-Kalo, an Israeli mother-artist. The research revealed an original, thought-provoking, and ironic artistic reaction with dramatic theater-of-the-absurd elements that reflect her critique of the mechanisms of construction and replication of the social order and its expectations of the Israeli mother. De-Kalo represents a new spirit in Israeli art –a contemporary artist in courageous defiance of the social norm that casts the mother as object; she depicts in her art a political-maternal subject who exposes and opposes patriarchal power in the social and artistic realms.
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Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.
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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poupée” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wanting to get out of this hassle, some theaters have thrown out their puppet signage by skipping their own names. Changes in names were intended only to convey information to viewers that in these theaters do not always operate with puppets and not always for the children’s audience. In view of the use of the word “animation” in Polish, that is, “vitalization”, and also the “animator”, that is, “actor who is animating the puppet”, the term “animant” is suggested, which logically, in our opinion, is used unlike from the word “puppet”. Every subject that is animated by animator can be called an animant, starting with classical puppets (glove puppets, cane puppets, excretory puppets, silhouette puppets, tantamarees, etc.) to various plastic shapes (animals, images of fantastic creatures or unrelated to any known), any finished products (such as chairs, umbrellas, cups), as well as immaterial, which are animated in the course of action directed by the actor, either visible to viewers or hidden. In short, the animator animates the animant. If the phenomenon of vitalization does not come, that is, the act of giving “the animant” the illusion of life does not occur, then objects on the stage remain only the requisite or elements of scenography. Synopsis of the main material of the study. In the past, puppet performances, whether fair or vernacular, were seen by everyone who wanted, regardless of age. At the turn of the XIX–XX centuries, the puppet theater got divided into two separate areas – theater for adults and the one for children. After the war, the professional puppet theater for adults became a branch of the puppet theater for children. In general, little has changed so far. The only puppet theater that plays exclusively for adults is “Theater – the Impossible Union”, under the direction of Mark Khodachinsky. In the Polish puppet theater the literary model still dominates, that is, the principle of starting to work on the performance from the choice of drama. There is no such literary work, old or modern, which could not be adapted for the puppet theater. The only important thing is how and why to do it, what significance carries the use of animants, and also, whether the applying of animation does the audience mislead, as it happens when under the name of the puppet theater at the festival shows performances that have nothing in common with puppets / animations. What special the puppet theater has to offer the adult audience? The possibilities are enormous, and in the historical perspective may be many significant achievements, but this does not mean that the masterpieces are born on the stones. The daily offer of theaters varies, and in reality the puppet theaters repertoire for adults is quite modest. The metaphorical potential of puppets equally well justifies themselves, both in the classics and in modern drama. The animants perfectly show themselves in a poetry theater, fairy-tale, conventional and surrealistic. The puppet theater has an exceptional ability to embody inhuman creatures. These can be figures of deities, angels, devils, spirits, envy, death. At the puppet scenes, also animals act; come alive ordinary household items – chairs, umbrellas, fruits and vegetables, whose animation gives not only an interesting comic effect or grotesque, but also demonstrates another, more empathic view of the whole world around us. In the theater of dolls there is no limit to the imagination of creators, because literally everything can became an animant. You need only puppeteers. The puppet theater in Poland, for both children and adults, has strong organizational foundations. There are about 30 institutional theaters (city or voivodship), as well as an increasing number of “independent theaters”. The POLUNIMA, that is, the Polish branch of the UNIMA International Union of Puppets, operates. The valuable, bilingual (Polish–English) quarterly magazine “Puppet Theater” is being issued. The number of puppet festivals is increasing rapidly, and three of them are devoted to the adult puppet theater: “Puppet is also a human” in Warsaw, “Materia Prima” in Krakow, “Metamorphoses of Puppets” in Bialystok. There is no shortage of good dramas for both adults and children (thanks to the periodical “New Art for Children and Youth” published by the Center for Children’s Arts in Poznan). Conclusions. One of the main problems is the lack of vocational education in the field of the scenography of the puppet theater. The next aspect – creative and now else financial – the puppet show is more difficult, in general more expensive and more time-consuming in preparation than the performance in the drama theater. Actor-puppeteer also gets a task those three times heavier: to play live (as an actor in a drama theater), while playing a puppet and with a puppet. Consequently, the narrative of dramatic story on the stage is triple: the actor in relation to the viewer, the puppet in relation to the viewer, the actor in relation to the puppet. The director also works double – both the actor and the puppet should be led. It is necessary to observe the effect that arises from the actions of both stage partners. So the second threat seems to be absurd, but, alas, it is very real – the escape of puppeteers from puppets. The art of the puppet theater requires hard work, and by its nature, it is more chamber. This art is important for gourmets, poets, admirers of animation skills, as well as the searchers for new artistic ways in the theater, in wide understanding. Fortunately, there are some real fans of the puppet theater, and their admiration for the miracle of animation is contagious.
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Velmani, N. "Howard Brenton’s Transmutation from Political Theatre to Absurd Theatre." Journal of English Language and Literature 1, no. 3 (June 30, 2014): 61–64. http://dx.doi.org/10.17722/jell.v1i3.19.
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Of all the contemporary dramatists, Howard Brenton is surely the most prolific, marked by breadth and variety,his plays mainly tackling moments of great political upheavals of the time. Many of his plays are turned out at speed as quickresponses to events in public life. Brenton, as a man of political conviction, exposes contemporary consciousness. The theatreserves as a platform for his political revolt expressive of disillusionment at the failure of socialism. Following the trend ofBrechtian Epic Theatre, Brenton used the basic principles in matters of setting, characterization, empathy and dramaticstructure and the techniques of socialist realism creating a fable with characters capable of change showing the light ofdawn in the darkest night. He evolved a large-scale ‘epic’ theatre dealing in complex political issues, an attempt to constitutea British Epic theatre. Since 1965, Brenton committed himself to a career as a playwright with his first play Ladder of Foolstill the recent play Drawing the Line (2013), he has widely moved through different phases of his career as a politicaldramatist with the portrayal of England in terms of a violent political landscape. But of late, there is transmutation frompolitical theatre to absurd theatre. In his recent play Drawing the Line Brenton faces an epic task himself in distilling theturmoil of India-Pakistan partition into two hours on stage. He makes the audience realize the absurdity of decisions made bythe intelligent principled political leaders that end up in tumultuous violence and conflicting demands.