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existentialism and the Theatre of the Absurd
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life is not merely inconsistent
...but fundamentally absurd...

Absurdity is the condition or state in which human beings exist in a meaningless, irrational universe wherein people's lives have no purpose or meaning. An alternative reaction against drawing-room naturalism came from the Theatre of the Absurd. Whereas traditional theatre attempts to create a photographic representation of life as we see it, the Theatre of the Absurd aims to create a ritual-like, mythological, archetypal, allegorical vision, closely related to the world of dreams. The focal point of these dreams is often man's fundamental bewilderment and confusion, stemming from the fact that he has no answers to the basic existential questions: why we are alive, why we have to die, why there is injustice and suffering.

existentialism and the Theatre of the Absurd

Modern man must descend the spiral of his own absurdity to the lowest point; only then can he look beyond it. It is obviously impossible to get around it, jump over it, or simply avoid it. --Václav Havel

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The innovative dramatic movement known as the theater of the absurd, which developed in Paris during the 1950s, took its name from Albert Camus' existentialist description of the dilemma of modern humanity. Considering humans to be strangers in a meaningless universe, he assessed their situation as absurd, or essentially pointless. Absurdist playwrights, led by Samuel Beckett, Eugène Ionesco, and Jean Genet, embraced this vision and sought to portray the grim ridiculousness of human life using a dramatic style that subverted theatrical convention. Characterized by fantasy sequences, disjointed dialogue, and illogical or nearly nonexistent plots, their plays are concerned primarily with presenting a situation that illustrates the fundamental helplessness of humanity. Absurdist drama is sometimes comic on the surface, but the humor is infused with an underlying pessimism about the human condition.

Beckett's ‘Waiting for Godot', first produced in 1953, is considered the quintessential work to emerge from the movement. Little happens in the play, which centers on two characters who wait endlessly for an appointment with the mysterious Godot. In ‘The Bald Soprano', which was described as an antiplay upon its debut in 1950, Ionesco dramatized the difficulties of communication through two characters who exchange banalities before realizing that they are husband and wife. Genet examined the illusions by which people live in such plays as ‘The Balcony' (1956), in which fantasies of power are played out in a brothel that mirrors the world as a whole.

The theater of the absurd declined in the mid-1960s as some of its innovations became theatrical conventions and others inspired more experimental works from the avant-garde. Absurdist techniques retained a permanent place in modern theater, however. The works of Harold Pinter, Edward Albee, and Tom Stoppard, among others, show the influence of the theater of the absurd

Also associated with the Theatre of the Absurd: Eugene Ionesco, Jean Genet, Arthur Adamov, Arthur Kopit, Friedrich Dürrenmatt, Fernando Arrabal, Edward Albee, N.F. Simpson, Boris Vian, Peter Weiss, Vaclav Havel, Jean Tardieu, Antonin Artaud and many more. --Encyclopedia Britannica

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