What does it stand for? And how can such a label be justified? Perhaps it will be best to attempt to answer the second question first. There is no organised movement, no school of artists, who claim the label for themselves. A good many playwrights who have been classed under this label, when asked if they belong to the Theatre of the Absurd, will indigniantly reply that they belong to no such movement — and quite rightly so. For each of the playwrights concerned seeks to express no more and no less his own personal vision of the world.
Existentialism And The Theatre Of The Absurd English Literature Essay
Samuel Beckett and the Theatre of the Absurd - WriteWork
There is no discernable reasoning behind their strangeness, though a threatening sense of change shakes their existence to the core. Influences on the absurdist theater go as far back as the Elizabethan tragicomedies of Shakespeare and his contemporaries. The tragic plays Macbeth and Hamlet offer segments of comedy that shift the play's perspective, if only for the briefest moments. Other influences on the absurdist playwrights include the work of Sigmund Freud, and the Surrealist movement of the s and s, which introduced the avant-garde to mainstream media. However, the largest influence was World War II and its aftermath. Like Pinter, who was a child during the war, many Englishmen and women felt disillusioned once the war was over.
His contribution to this particular genre allows us to refer to him as the grand master, or father, of the genre. While other dramatists have also contributed significantly to this genre, Beckett remains its single, most towering figure. This movement known as the Theater of the Absurd was not a consciously conceived movement, and it has never had any clear-cut philosophical doctrines, no organized attempt to win converts, and no meetings. Each of the main playwrights of the movement seems to have developed independently of' each other. The early plays of Edward Albee and Harold Pinter fit into this classification, but these dramatists have also written plays that move far away from the Theater of the Absurd's basic elements.
The narrator displays a haunting acceptance of his uncertain fate as he freefalls into unknown places. Thematically, Asides bares a striking resemblance to the Theatre of the Absurd, a theatrical movement that emerged primarily in the fifties and sixties. The idea of man perceiving life as an incomprehensible game and being struck by the realization of his inability to forge a meaningful existence is the dominant theme in both Asides and Absurdist drama.