Assignment 110: Absurdity Unmasked: The Radical World of Theatre

 Absurdity Unmasked: The Radical World of Theatre

Table of Contents : 

Personal Information

Assignment Details

Abstract 

Keywords

Introduction

What is Theatre of the Absurd?

History of  Theatre of The Absurd 

Theatre of the Absurd Examples

Theatre of the Absurd Characteristics

Characters in Theater of the Absurd

Features of Absurdist Plot

Theatre of the Absurd Plays

Conclusion

Personal Information:-

Name:- Darshan Vagh

Batch:- M.A. Sem 2 (2023-2025)

Enrollment Number:- 5108230045

E-mail Address:- darshanvaghc56@gmail.com

Roll Number:- 5

Assignment Details:-

Topic:-Theatre Of The Absurd

Paper -110: History of English Literature 1900 to 2000

Submitted to:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar

Date of Submission:- April 26, 2024

Abstract

The Theatre of the Absurd, a groundbreaking movement in mid-20th-century drama, challenged conventional theatrical forms and explored the perplexing nature of human existence. Originating as a response to the chaos of post-war society, Absurdist plays feature illogical plots, nonsensical language, and characters grappling with the futility of life. This essay delves into the origins, characteristics, key playwrights, and enduring impact of the Absurdist Theatre, shedding light on its profound exploration of existential crises and the absurdities of the human condition. Keywords: Theatre of the Absurd, existentialism, post-war society, absurdity, illogical plots, nonsensical language, human condition, existential crises, avant-garde drama, key playwrights, impact on modern theatre.

Introduction 

The Theatre of the Absurd was a radical movement in the mid-20th century, featuring plays that broke away from the norm. These plays surprised and confused audiences because they were so different from what people were used to. Some even called them "anti-plays" because they went against traditional theater.

Martin Esslin, in his book "The Theatre of the Absurd" from 1960, coined the term to describe these plays. He said they focused on the absurdity of human life. When we say something is "absurd" today, we usually mean it's silly, but Esslin meant it in a deeper way—as something that doesn't make sense.

In simpler terms, each play in this genre shows human life as illogical and without real meaning. This perspective came about as a response to the big changes caused by the World Wars. These wars shook up society in every way—morally, religiously, politically, and socially. The Theatre of the Absurd was a way for artists to express the confusion and chaos of those times.(#Britannica)

What is Theatre of the Absurd?

The Theatre of the Absurd is a label coined by critic Martin Esslin in his essay on the subject. It refers to the works of various playwrights, mainly from Europe, who wrote predominantly during the 1950s and 1960s. These playwrights expressed the idea that human existence is devoid of meaning or purpose. When faced with adversity or conflict, attempts to apply logic often only exacerbate the situation, ultimately leading to a sense of futility and silence.(#Britannica)

History of  Theatre of The Absurd 

The roots of the Theatre of the Absurd can be traced back to Paris, where it emerged as an experimental form of theater influenced by existentialist philosophy. As this unconventional style gained traction beyond France, absurdist plays began to be written in French and spread to other countries.

The absurd elements seen in these plays have their origins in ancient Greek drama, particularly in the wild humor and buffoonery of Aristophanes' works. Additionally, the moralistic plays of the Middle Ages, which depicted the struggles of everyday people with allegorical and existential dilemmas, can also be seen as precursors to the Theatre of the Absurd.

During the Elizabethan period, playwrights like John Webster, Cyril Tourneur, Jakob Biederman, and Calderon presented the world through mythological archetypes, further contributing to the development of this avant-garde theatrical movement.

In 19th century, Ibsen and Strindberg also included some elements of absurd theater in their plays, but real precursor of the present Theater of Absurd is Alfred Jerry‘s monstrous puppet play Ubu Roi (1896). A glimpse of Theater of Absurd can be seen in the dream novels of James Joyce, Franz Kafka who created archetype by delving deep into their own consciousness and attempting to explore the universe.

World War II finally brought the Theater of Absurd to life because the chaotic atmosphere during that time was compelling them to think about their absurd existence.(#Esslin)

Theatre of the Absurd Examples

The Theatre of the Absurd reflects Albert Camus' philosophy, as outlined in "The Myth of Sisyphus," which suggests that life lacks inherent meaning. Camus believed that the world was inherently incomprehensible to humans, making it eternally absurd, and he advocated for accepting this fundamental absurdity.

Martin Esslin identified four key playwrights—Samuel Beckett, Eugene Ionesco, Arthur Adamov, and Jean Genet—as the movement's leaders. Harold Pinter was later added to this group, and some works by Tom Stoppard, Edward Albee, and Jean Tardieu were also categorized as belonging to the Absurdist Theater. Interestingly, these writers didn't always embrace the label, sometimes preferring terms like "Anti-Theater" or "New Theater."

Additionally, there are other playwrights, such as Tom Stoppard, Arthur Kopit, Friedrich Durrenmatt, Fernando Arrabal, and Edward...

Theatre of the Absurd Characteristics

The Theater of the Absurd exhibits several key characteristics, although it's important to note that not every absurdist play necessarily incorporates all of these traits. Each playwright may choose to emphasize different aspects of Absurd Theater in their works, leading to variations in the manifestation of these characteristics across different plays.

Questions of Existence

Absurd plays raise some basic questions of existence like- why we are alive why we have to die and why there is injustice and suffering.

Distrust in Language

For absurdist playwrights, language is only a meaningless communication and stereotyped exchange of ideas because words fail to express essence of human existence.

Illogical Speeches and Meaningless Plots

Absurdist playwrights often use illogical dialogues and plots to create a sense of liberation, allowing audiences to explore their own imaginative worlds. According to Dr. Culik, rational thinking and language tend to focus only on surface-level aspects of existence. In contrast, nonsense opens doors to infinite possibilities, offering a glimpse into realms beyond the constraints of logic and reason.

Re-establishment of man’s communion with Universe

They attempt to restore the importance of myth and rituals in the life of man and make them aware of the ultimate realities of their life.

Emphasize on Abstract Values of Life

Absurdists force us to look at our abstract values of life like love and family. Thus, we may hope to accept the absurdity of life and try to find values in a world devoid of them.

Vagueness about Time, Place and Character

Absurdists have no time, place and character in their plays as they feel that there is no past or future, only the repetition of the present

Lack of communication amid characters

Each character lives an egoistic life and attempts to get another character to understand him and this results in more alienation.

Characters in Theater of the Absurd

In the Theatre of the Absurd, characters vary from simple to multifaceted, often lacking conventional emotions yet possessing a profound sensitivity. Many characters are portrayed as floating between dimensions, appearing as stereotypes or archetypes due to their confrontation with the absurdity of the universe. They frequently discard rationality and logic, opting instead for clichéd speech patterns, while realism serves as their primary foundation, albeit often distorted.

Complex characters don't typically fit within this theatrical framework, as they grapple with an incomprehensible universe. In Harold Pinter's plays, for instance, characters find themselves confined within enclosed spaces, threatened by forces they cannot comprehend. In "The Room," the protagonist Rose faces menace from Riley, yet the true nature of this threat remains shrouded in mystery.

 

In Absurd Drama, characters confront a world that has been forsaken by science and logic, leaving them ensnared in repetitive routines or, in a playful twist of metafiction, entrapped within the confines of a predetermined narrative. For instance, in Tom Stoppard's "Rosencrantz & Guildenstern Are Dead," the titular characters find themselves trapped within the storyline of "Hamlet," where the outcome is already predetermined.

Absurdist playwrights often construct their characters in pairs, forming interdependent duos consisting of two males or a male and a female. This dynamic is sometimes referred to by Beckett scholars as a "pseudo couple." These characters may appear outwardly equal or exhibit a begrudging reliance on one another, as seen in the relationship between Vladimir and Estragon in "Waiting for Godot." Here, one character may assert dominance over the other, while the dynamics of their relationship can undergo dramatic shifts throughout the play.

Plot 

The Theatre of the Absurd breaks away from conventional plot structures, opting instead for a repetition of clichés and mundane routines, as exemplified in "Waiting for Godot." These plays often feature an ominous external force whose nature remains shrouded in mystery throughout the performance. Central to many Absurdist plots are themes of absence, emptiness, and unresolved mysteries, creating an atmosphere of ambiguity and uncertainty.

Features of Absurdist Plot

In "Waiting for Godot," the storyline centers on the prolonged absence of the character Godot, whose anticipated arrival drives the action of the play. Additionally, Absurdist plots often feature unexplained transformations, shifts in natural laws, or supernatural occurrences. For instance, in Ionesco's "How to Get Rid of It," a couple grapples with a steadily growing corpse, the identity of which remains undisclosed. Ultimately, the corpse drifts away unidentified, leaving the characters in a state of uncertainty.

Moreover, Absurdist plots frequently exhibit cyclical patterns, such as in "Endgame," where the play begins and ends in the same place. Themes of routine and repetition permeate the narrative, highlighting the cyclical nature of existence in the Absurdist universe.

Language

Although, absurd plays bear nonsensical language and clichés, they are naturalistic to a great extent. It happens because words lose their denotative function and create misunderstanding among characters that make Theater of Absurd quite distinct. Sometimes, nonsense is used abusively as Pinter did in Birthday Party. Their language is sometimes adorned with phonetic, rhythmical, almost musical qualities that further lead to comedy in absurdity. The dialogues are made elliptical with a certain purpose. Most of the Backett’s plays do not value language for creating striking tableau. Pinter pause’ used by Harold Pinter presents elliptical dialogue and often primary things which a character should convey are replaced by ellipsis or dashes.

Theatre of the Absurd Plays

The first large major production of an absurdist play was Jean Genet’s The Maids in 1947. Ionesco’s The Bald Soprana was first performed in 1950, and Samuel Beckett’s Waiting for Gadot is probably the best known of all absurdist plays and it was premiered in January 1953. Waiting for Godot is the most controversial absurdist play.Rest of the Absurdist plays are:

Samuel Beckett: Waiting for Godot

Eugene lonesco: The Bald soprano

Jean Genet: The Balcony

Slawomir Mrozek: Tango

Harold Pinter: The Dumb Waiter and The Birthday Party 

Conclusion

The Absurd Theatre doesn't present an optimistic view of life; rather, it highlights the absurd and illogical nature of the world without offering any solutions. These plays serve as reminders that human existence is ultimately meaningless and absurd. The rise of Absurdist Theatre began in the mid-1960s, shocking audiences with its unconventional approach. However, many of its distinctive features have since been adopted by mainstream theatre. Techniques pioneered by the Theatre of the Absurd are now commonplace in modern theatrical productions.

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Reference

Britannica, The Editors of Encyclopaedia. "Theatre of the Absurd". Encyclopedia Britannica, 8 Feb. 2024, https://www.britannica.com/art/Theatre-of-the-Absurd. Accessed 24 April 2024.

Esslin, Martin. “The Theatre of the Absurd.” The Tulane Drama Review, vol. 4, no. 4, 1960, pp. 3–15. JSTOR, https://doi.org/10.2307/1124873. Accessed 25 Apr. 2024.

Wegener, Adolph H. “The Absurd in Modern Literature.” Books Abroad, vol. 41, no. 2, 1967, pp. 150–56. JSTOR, https://doi.org/10.2307/40121546. Accessed 25 Apr. 2024.