Information about Theatre Of The Absurd

The Theatre of the Absurd, or Theater of the Absurd (French: "Le Théâtre de l'Absurde") is a designation for particular plays written by a number of primarily European playwrights in the late 1940s, 1950s, and 1960s, as well as to the style of theatre which has evolved from their work.

The term was coined by the critic Martin Esslin, who made it the title of a 1962 book on the subject. Esslin saw the work of these playwrights as giving artistic articulation to Albert Camus' philosophy that life is inherently without meaning, and so one must find one's own meaning as illustrated in his work The Myth of Sisyphus.

The 'Theatre of the Absurd' is thought to have its origins in Dadaism, nonsense poetry and avant-garde art of the 1910s – 1920s. Despite its critics, this genre of theatre achieved popularity when World War II highlighted the essential precariousness of human life. The 'Theatre of the Absurd' is primarily existentialist. It is also often known as theatre indented to shock the audience. Most exemplary is Beckett's Waiting for Godot, a play about two bums that would have shocked the French audience, to say the least, attending the premiere performance at the Theatre de Babylone.

The expression "Theater of the Absurd" has been criticized by some writers, and one also finds the expressions "Anti-Theater" and "New Theater". According to Mayjoin Esslin, the four defining playwrights of the movement are Eugène Ionesco, Samuel Beckett, Jean Genet, and Arthur Adamov, although each of these writers has entirely unique preoccupations and techniques that go beyond the term "absurd". Other writers often associated with this group include Tom Stoppard, Friedrich Dürrenmatt, Fernando Arrabal, Harold Pinter, Edward Albee and Jean Tardieu. Playwrights who served as an inspiration to the movement include Alfred Jarry, Luigi Pirandello, Stanislaw Ignacy Witkiewicz, Guillaume Apollinaire, the surrealists and many more.

The "Absurd" or "New Theater" movement was, in its origin, a distinctly Paris-based (and Rive Gauche) avant-garde phenomenon tied to extremely small theaters in the Quartier Latin; the movement only gained international prominence over time. In practice, The Theatre of the Absurd departs from realistic characters, situations and all of the associated theatrical conventions. Time, place and identity are ambiguous and fluid, and even basic causality frequently breaks down. Meaningless plots, repetitive or nonsensical dialogue and dramatic non-sequiturs are often used to create dream-like, or even nightmare-like moods. There is a fine line, however, between the careful and artful use of chaos and non-realistic elements and true, meaningless chaos. While many of the plays described by this title seem to be quite random and meaningless on the surface, an underlying structure and meaning is usually found in the midst of the chaos.

The New York based theater company Untitled Theater Company #61 purports to present a "modern theater of the absurd," consisting of new plays in the genre and classic plays interpreted by new directors. Among their projects were the Ionesco Festival, a festival of the complete works of Eugène Ionesco, and the Havel Festival, the complete works of Václav Havel.

See also

• Samuel Beckett
• Antonin Artaud
• Edward Albee
• Eugène Ionesco
• Arthur Adamov
• Václav Havel
• Jean Tardieu
• Harold Pinter
• Tom Stoppard
• Sławomir Mrożek
• Jean Genet
• N.F. Simpson
• Matei Visniec
• Sam Shepard
• Stanisław Ignacy Witkiewicz ("Witkacy")
• Tadeusz Kantor
• Alfred Jarry
• Tawfiq al-Hakim
• Wajdi Mouawad
• Charles Ludlam
• Mahesh Elkunchwar
• Romain Weingarten
• Yordan Radichkov
• Walter Wykes
• David Campton
• Roger Vitrac
• Mohit Chattopadhyay
• José de Almada Negreiros
• Nikolai Erdman
• John Guare
• Tadeusz Różewicz
• Edward Crothall
• Lauran Trao

Further reading

Samuel Beckett's Waiting for Godot:

• Esslin, Martin (1961). The Theatre of the Absurd. Garden City, N.Y.: Doubleday. 
• Esslin, Martin (1965). Absurd Drama. Harmondsworth, Eng.: Penguin.