Theatre of the Absurd

The theatre of the absurd was a significant theatrical movement even though it was short lived, based during the 1950s in Paris. Refers to a literary movement in drama popular throughout European countries from the 1940s to approximately 1989. Critics believe that theatre of the absurd arose from the doubts and fears branching from WW2. The movement flourished in Germany, France, Scandinavia and EnglandThe theatre of the absurd doesn't refer to only one practitioner, hugely based on the philosophy of existentialism, it was put into effect by few European playwrights. The term was coined by Martin Esslin, he regarded the term solely as a device by which can be used to bring attention to specific fundamental traits observable in a number of playwrights' works. The playwrights loosely gathered below the label of the absurd attempt to portray their sense of anxiety, bewilderment and thoughts on an unexplained universe. According to Esslin, there were 5 significant playwrights of this movement which were Eugène lonesco, Samuel Beckett, Jean Genet, Arthur Adamov, and Harold Pinter, although these playwrights didn't always agree to being labelled as this so they preferred terms such as 'Anti-theatre' or 'New theatre'. Common elements of the theatre of absurd included illogical plots abided by characters who seemed out of harmony with their personal existence. Beckett's death in 1989 is said to be the end of the movements popularity.


Background:
- not a conscious movement
- supporters of the form were a disconnected team of playwrights
- the term Theatre of The Absurd was coined by Esslin in his text The Theatre of the Absurd in 1961
- other playwrights whose specific works have been referred to as absurdist by other include Edward Albee, Tom Stoppard, Fernando Arrabal, and Peter Weiss
- the origins of absurdism reside in avant-garde experiments of the 1920 and 30s, while a few argue absurdism elements that are present in plays like Alfred Jarry's Ubu Roi (1896) and also in ancient Greek dramas. 


Theory: 
- is also referred to as absurdism
- absurd originally means "out of harmony" in a musical context, its different to its meaning in the theatre of absurd to the everyday meaning of the word as "ridiculous"
- absurd in the context of absurdism could mean:

• without purpose 
• illogical 
• out of harmony 
• useless
• meaningless 
• devoid of reason 
• chaotic 
• hopeless 
• uncertain 
• lacking order 

- lurking behind absurdism is the notion of existentialism 

- existentialist philosophers that influences playwrights were Frenchmen Jean-Paul Sartre (1905-1980) and Albert Camus (1913-1960) - who were also playwrights

- the abominations of WW2 are considered influential events to the movement, which highlighted the precariousness of the existence of humankind 

- Sartre denied God's existence, providing humans with no choice but to develop their own standards and moral code in life, rather than following church, state or society's rules

- Camus' The Myth of Sisyphus sees Sisyphus constantly pushing a boulder to the top of the mountain, only to watch it roll back down again -- this useless labor is an analogy for humankind's pointless existence, a quality shown in many characters and plots of absurdist plays    

Plot and Structure:

- unrealistic, going against several of the accepted norms of orthodox theatre 

- labeled by a few critics as 'anti-theatre' 

- usually characterised by an intentional absence of the cause and effect combination between scenes 

- non-linear plot developments, sometimes cyclical -- ending where they started 

- sometimes appearing as though there is no plot at all that can be seen 

- intentional lack of conflict 

Acting and Characterisations:

- both  presentational and representational modes of acting 

- occasionally stereotypical 

- often an absence of character development 

- absurd characters lack the motivation that is seen in characters of realistic dramas, outlining their purposelessness 

- time, place and identity are regularly blurred with characters usually unsure about who or where they are 

- characters are usually out of harmony or out of sync with the world that they live in 

Movement:

- mixture of realistic and non-realistic 

- elements of circus, vaudeville and acrobatics 

- ritualistic 

- slow 

- repetitive 

- illogical 

- one extreme to the other without realization 

- action occasionally defies logic or simple understanding

- often sombre and serious, the highly comical  

Dialogue: 

- language was devalued as a tool for communication 

- usually illogical 

- occasionally telegraphic and clipped 

- long pauses 

- clichéd 

- repetitive 

- rhythmical 

- frequent use of silence 

- monotone 

- slow dialogue occasionally accompanied by a frenzied, quick-paced monologue

Stagecraft:

- often simplistic and minimalistic 

- barren set pieces barely denoting a location (ex. a tree and country road in Waiting for Godot) 

Key Plays: Waiting for Godot by Samuel Beckett
Endgame by Samuel Beckett
Rhinoceros by Eugene Ionesco
The Chairs by Eugene Ionesco
The Lesson by Eugene Ionesco
The Bald Prima Donna / The Bald Soprano by Eugene Ionesco
Exit The King by Eugene Ionesco
The Balcony by Jean Genet

References:
https://www.britannica.com/art/Theatre-of-the-Absurd
http://www.theatredatabase.com/20th_century/theatre_of_the_absurd.html
http://www.thedramateacher.com/theatre-of-the-absurd-conventions/
https://www.cliffsnotes.com/literature/w/waiting-for-godot/critical-essays/samuel-beckett-and-the-theater-of-the-absurd