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Waiting for Godot, a herald for the Theatre of the Absurd. Festival d'Avignon, dir. Otomar Krejča, 1978.. The theatre of the absurd (French: théâtre de l'absurde [teɑtʁ(ə) də lapsyʁd]) is a post–World War II designation for particular plays of absurdist fiction written by a number of primarily European playwrights in the late 1950s.
Absurdist fiction is a genre of novels, plays, poems, films, or other media that focuses on the experiences of characters in situations where they cannot find any inherent purpose in life, most often represented by ultimately meaningless actions and events that call into question the certainty of existential concepts such as truth or value. [1]
Martin Julius Esslin OBE (6 June 1918 – 24 February 2002) was a Hungarian-born British producer, dramatist, journalist, adaptor and translator, critic, academic scholar and professor of drama, known for coining the term "theatre of the absurd" in his 1961 book The Theatre of the Absurd. This work has been called "the most influential ...
The absurdist movement is derived in the 1950s from Absurdist literature and philosophy, which argues that life is inherently purposeless and questions truth and value. As such, absurdist literature and theatre of the absurd often includes dark humor , satire , and incongruity [ 110 ] [ 111 ]
Some critics have argued that some of his work constitutes an American variant of what Martin Esslin identified as and named the Theater of the Absurd. [1] Three of his plays won the Pulitzer Prize for Drama and two of his other works won the Tony Award for Best Play. His works are often considered frank examinations of the modern condition.
Avant-Garde, Theatre of the Absurd Eugène Ionesco ( / j ə ˈ n ɛ s k oʊ / ; [ 1 ] French: [øʒɛn jɔnɛsko] ; born Eugen Ionescu , Romanian: [e.uˈdʒen joˈnesku] ⓘ ; 26 November 1909 – 28 March 1994) was a Romanian-French playwright who wrote mostly in French, and was one of the foremost figures of the French avant-garde theatre in ...
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Theatre of the Absurd promotes a detachment from reality by emphasising the purposelessness of life in its themes. [ 4 ] [ 15 ] It is the mid-point of Surrealism and Theatre of the Grotesque, reconciling their ideas through its metaphysical anguish and departure from convention. [ 4 ]