Bibliografías temáticas / The Theatre of the Absurd

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Literatura académica sobre el tema "The Theatre of the Absurd"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 25 de abril de 2022

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Artículos de revistas sobre el tema "The Theatre of the Absurd"

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Marrow, Joanne. "Theatre of the Absurd". Women's Review of Books 13, n.º 5 (febrero de 1996): 32. http://dx.doi.org/10.2307/4022296.

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Velmani, N. "Howard Brenton’s Transmutation from Political Theatre to Absurd Theatre". Journal of English Language and Literature 1, n.º 3 (30 de junio de 2014): 61–64. http://dx.doi.org/10.17722/jell.v1i3.19.

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Of all the contemporary dramatists, Howard Brenton is surely the most prolific, marked by breadth and variety,his plays mainly tackling moments of great political upheavals of the time. Many of his plays are turned out at speed as quickresponses to events in public life. Brenton, as a man of political conviction, exposes contemporary consciousness. The theatreserves as a platform for his political revolt expressive of disillusionment at the failure of socialism. Following the trend ofBrechtian Epic Theatre, Brenton used the basic principles in matters of setting, characterization, empathy and dramaticstructure and the techniques of socialist realism creating a fable with characters capable of change showing the light ofdawn in the darkest night. He evolved a large-scale ‘epic’ theatre dealing in complex political issues, an attempt to constitutea British Epic theatre. Since 1965, Brenton committed himself to a career as a playwright with his first play Ladder of Foolstill the recent play Drawing the Line (2013), he has widely moved through different phases of his career as a politicaldramatist with the portrayal of England in terms of a violent political landscape. But of late, there is transmutation frompolitical theatre to absurd theatre. In his recent play Drawing the Line Brenton faces an epic task himself in distilling theturmoil of India-Pakistan partition into two hours on stage. He makes the audience realize the absurdity of decisions made bythe intelligent principled political leaders that end up in tumultuous violence and conflicting demands.
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Velmani, N. "Howard Brenton’s Transmutation from Political Theatre to Absurd Theatre". Journal of English Language and Literature 1, n.º 3 (1 de junio de 2014): 61. http://dx.doi.org/10.17722/jell.v1i3.42.

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Taraki, Lisa. "Occupation: a theatre of the absurd". Holy Land Studies 4, n.º 1 (mayo de 2005): 93–94. http://dx.doi.org/10.3366/hls.2005.4.1.93.

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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, n.º 3-4 (septiembre de 1994): 439–48. http://dx.doi.org/10.1080/00085006.1994.11092066.

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Ahmad, Mas Rynna Wati. "Closure: An Appropriated Technique in Malay Absurd Plays". Malay Literature 28, n.º 2 (1 de diciembre de 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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Chen, Chang. "Revisiting the Absurd: Posthuman Affects in Samuel Beckett’s Theatre". New Theatre Quarterly 37, n.º 4 (noviembre de 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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Cumbie-Jones, Claudia. "Computer animation and theatre of the absurd". ACM SIGGRAPH Computer Graphics 31, n.º 2 (mayo de 1997): 12–13. http://dx.doi.org/10.1145/271283.271287.

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Jones, Julian. "Stanislavski and The Theatre of The Absurd". Stanislavski Studies 8, n.º 2 (2 de julio de 2020): 247–64. http://dx.doi.org/10.1080/20567790.2020.1814554.

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Goldstein, Darra. "Russian Dining: Theatre of the Gastronomic Absurd". Performance Research 4, n.º 1 (enero de 1999): 56–63. http://dx.doi.org/10.1080/13528165.1999.10871643.

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Tesis sobre el tema "The Theatre of the Absurd"

1

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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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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Onyedike, Adanma. "Onye Mbu: 'My Identity' Pedagogical Applications of the Surreal and Absurd in Adrienne Kennedy's Funnyhouse of a Negro". VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1678.

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ONYE MBU: MY IDENTITY PEDAGOGICAL APPLICATIONS OF THE SURREAL AND ABSURD IN ADRIENNE KENNEDY'S FUNNYHOUSE OF A NEGRO By Adanma N. Onyedike, M.F.A A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2009 Major Director: Dr. Noreen Barnes, Director of Graduate Studies Department of Theater This document investigated my personal journey of discovering, developing, and later executing skill in teaching the theatrical arts. The re examination of the steps that led to my current success was important in order to qualify the receiving of my M.F.A. in Theater Pedagogy. Starting from my Undergraduate career, the thesis touched on lessons that I have learned throughout my career. My academic and professional theatrical works were also included. These lessons were implemented in my direction of the production Funnyhouse of a Negro which was my Thesis Directing Project. I consider this document a guidebook for those who are interested in teaching Theater Arts.
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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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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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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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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 discursives
The 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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Perrault, Jean-François. "Le langage du théâtre de l'absurde : suivi de Resolutions". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22445.

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This thesis in creative writing comprises two sections. The first is an essay on the theatre of the absurd. The introduction sets the genre in its historical context and briefly describes its aesthetic qualities. Four plays by reputed "absurd" playwrights are studied in the body of the essay: La cantatrice chauve (The Bald Soprano) by Eugene Ionesco, Fin de partie (Endgame) by Samuel Beckett, Le balcon (The Balcony) by Jean Genet, and Les voisins (not translated) by Claude Meunier and Louis Saia. The conclusion examines the difference between dramatic and comic plays found within the theatre of the absurd. It also touches on the legacy of the theatre of the absurd.
The second section of the thesis is a play in one act entitled Resolutions. It respects the principal characteristics of the theatre of the absurd which are described and analysed in the first section.
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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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Libros sobre el tema "The Theatre of the Absurd"

1

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

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2

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

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3

The theatre of the absurd. 3a ed. New York: Vintage Books, 2004.

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4

The theatre of the absurd. 3a ed. London: Methuen, 2001.

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5

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

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6

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

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7

Cantiracēkaran̲, Jōrj. Apatta nāṭakam =: Theatre of the absurd. Maṭṭakkaḷappu: Āciriyar, 1999.

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8

Cartledge, Paul. Aristophanes and his theatre of the absurd. Bristol: Bristol Classical Press, 1990.

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Aristophanes and his theatre of the absurd. Bristol: Bristol Classical Press, 1990.

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The French theater of the absurd. Boston: Twayne Publishers, 1991.

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Capítulos de libros sobre el tema "The Theatre of the Absurd"

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

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

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

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

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

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Bennett, Michael Y. "The Parable of Estragon’s Struggle with the Boot in Samuel Beckett’s Waiting for Godot". En Reassessing the Theatre of the Absurd, 27–51. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118829_2.

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Bennett, Michael Y. "The Pinteresque Oedipal Household: The Interrogation Scene(s) in The Birthday Party". En Reassessing the Theatre of the Absurd, 53–69. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118829_3.

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Bennett, Michael Y. "The Parable of the White Clown: The Use of Ritual in Jean Genet’s The Blacks: A Clown Show". En Reassessing the Theatre of the Absurd, 71–87. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118829_4.

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Bennett, Michael Y. "Berenger, The Sisyphean Hero". En Reassessing the Theatre of the Absurd, 89–100. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118829_5.

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Bennett, Michael Y. "Conclusion: Theorizing a “Female Absurd” in Beth Henley’s Crimes of the Heart as Means of Reassessing the Theatre of the Absurd". En Reassessing the Theatre of the Absurd, 101–8. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118829_6.

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Actas de conferencias sobre el tema "The Theatre of the Absurd"

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

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

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Geigel, Joe y Marla Schweppe. "Virtual theatre". En ACM SIGGRAPH 2005 Educators program. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1187358.1187378.

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Chaudhari, S. T., S. Bodke, R. Chandsarkar y T. Sule. "Virtual Theatre". En Third International Conference on Emerging Trends in Engineering and Technology (ICETET 2010). IEEE, 2010. http://dx.doi.org/10.1109/icetet.2010.127.

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Takahashi, Toru, Yasuhiro Katagiri y Keiko Nakao. "TelMeA theatre". En the SIGGRAPH 2003 conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/965333.965382.

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Owen, Charles B., Alison Dobbins y Lisa Rebenitsch. "Theatre Engine". En International Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2536853.2536867.

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Banno, Mariasole, Andrea Albertini, Ileana Bodini, Sandro Trento y Valerio Villa. "Theatre teaches". En Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.8098.

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Theatre teaches is a new experiment carried out at the University of Brescia. The growing importance of transversal competences i.e. those skills that essentially concern attitudes in the workplace and interpersonal relationships such as team work, language and communication skills, gave us the idea to develop an educational innovation to help students bring out these skills. We asked students to wrote a play using topics seen in class. So, they tried to wrap their mind around it and worked in team to write a script and get him to scene. Not to be confused to business theatre, this method is applicable in any framework. The assessment results reveal that students appreciate this method because this work helps them to express theirself better and, in general terms, they could improve their non techniocal skills. In conclusion, we can say that this experiment has been a success and gave the students the opportunity to show transversal competences. The ability to communicate, to teamworking, to manage conflicts, to speak in public, to problem solving, creativity, imagination, the ability to manage unforeseen situations and tolerate pressure and stress, leadership skills, negotiation skills and the ability to motivate are just few of the emergent competences.
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Bannò, Mariasole y Giorgia Maria D'Allura. "Art-based methods: Theatre Teaches and Business Theatre". En Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9249.

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The paper aims to investigate the use of arts in teaching, specifically the art of theater, to provide the new skills searched from the job market. Our work compares the two experiences of the Theatre Teaches performed at University of Brescia and of Business Theatre at University of Catania. The idea of the paper is based on the scientific collaboration among the two co-authors involved, during the last 10 years, on the development of innovative method of teaching focused on non- technical skills. After depicting the incumbent needs of non-technical skills searched from the job market, the comparison on the use of theatre in the two Universities highlighted how both methods support the development of relational, cognitive and managerial soft skills, even if in a different way: when using Theatre Teaches the major skills concern the cognitive ones, while when using Business Theatre the major skills concern the relational ones. Furthermore, it emerges that Theatre Teaches is more effective with cognitive engagement while Business Theatre with emotional engagement. Both are effective in the behavioral engagement (i.e. physical participation in an activity), which emerges as the distinctive characteristic of theatre art-based method.
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"Defining Verbatim Theatre as a Form of Documentary Theatre". En International Visible Conference on Educational Studies and Applied Linguistics. Tishk International University, 2021. http://dx.doi.org/10.23918/vesal2021v12.

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Müller, Kathryn, Helen Harris y Vanessa Ruhlig. "The skyline theatre". En the 13th Participatory Design Conference. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2662155.2662217.

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Informes sobre el tema "The Theatre of the Absurd"

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Moor, Donald B. Iran: Theatre Security Cooperation Plan. Fort Belvoir, VA: Defense Technical Information Center, abril de 2008. http://dx.doi.org/10.21236/ada484358.

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McGregor, Udo K. Strategic Airlift: Supporting the Theatre Commander. Fort Belvoir, VA: Defense Technical Information Center, mayo de 2003. http://dx.doi.org/10.21236/ada420292.

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Bhutada, Aditya. Universal Event and Motion Editor for Robots' Theatre. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.194.

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Sunardi, Mathias. Expressive Motion Synthesis for Robot Actors in Robot Theatre. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.720.

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Ehrhart, David G. Foreign Command of US Forces in Combined Theatre Operations. Fort Belvoir, VA: Defense Technical Information Center, abril de 1994. http://dx.doi.org/10.21236/ada280733.

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Pond, Robert. The history of community theatre in Anchorage, Alaska, 1946-1976. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.2970.

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Ghosh, Yashowanto. Bertolt Brecht's Leben des Galilei: A Mythic Dimension in Epic Theatre. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.6442.

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Ohlmeyer, Ernest J., Craig Phillips, David Hanger, Mark Jones y Thomas R. Pepitone. Guidance Methods for Accurate In-Flight Alignment of Navy Theatre Wide Missiles. Fort Belvoir, VA: Defense Technical Information Center, mayo de 2001. http://dx.doi.org/10.21236/ada385676.

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Cereghino, Albert. Italy 1830-1848: the role of the press and the theatre in the formation of the national spirit. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.935.

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Ilgenfritz, Pedro. Guide Me Without Touching My Hand: Reflections on the Dramaturgical Development of the Devised-theatre Show One by One. Unitec ePress, diciembre de 2016. http://dx.doi.org/10.34074/ocds.038.

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This essay is a reflection on some aspects of dramaturgy observed during the creation and development of One by One, a silent tragicomedy designed by the Auckland company, LAB Theatre, in 2011 and restaged in 2013. The emphasis of the essay is on pedagogical aspects at the core of the company’s work, as they inform the creative process and lead to the blending of the actor’s function into that of the dramaturg. The following discussion makes apparent the fact that this process of hybridisation, made possible by implementing features of devised theatre, emancipates the actor and brings improvisation to a better use. The play was based on the notion that theatrical action must be ‘suggestive’ rather than ‘descriptive.’ This idea originated in the works of Konstantin Stanislavski (1988) and Jacques Copeau (2000) and was developed by more recent theorists of dramaturgy into a practical framework for theatrical performance in general. The success of One by One depended very much on the implementation of these principles. The achievement was duly noted by reviewer Lexie Matheson (2011), who appreciated that One by One “exists on its own, doesn’t need explanation, doesn’t explain itself; it just unravels with delicacy and tenderness, like a good yarn should.
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