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Theatre of the Absurd
The Theatre of the Absurd ((フランス語:Théâtre de l'Absurde) (:teɑtʁ(ə) də lapsyʁd)) is a designation for particular plays of absurdist fiction written by a number of primarily European playwrights in the late 1950s, as well as one for the style of theatre which has evolved from their work. Their work expressed what happens when human existence has no meaning or purpose and therefore all communication breaks down, in fact alerting their audiences to pursue the opposite. Logical construction and argument gives way to irrational and illogical speech and to its ultimate conclusion, silence.〔''The Hutchinson Encyclopedia'', Millennium Edition, Helicon 1999.〕
Critic Martin Esslin coined the term in his 1960 essay "Theatre of the Absurd." He related these plays based on a broad theme of the Absurd, similar to the way Albert Camus uses the term in his 1942 essay, "The Myth of Sisyphus". The Absurd in these plays takes the form of man’s reaction to a world apparently without meaning, and/or man as a puppet controlled or menaced by invisible outside forces. Though the term is applied to a wide range of plays, some characteristics coincide in many of the plays: broad comedy, often similar to Vaudeville, mixed with horrific or tragic images; characters caught in hopeless situations forced to do repetitive or meaningless actions; dialogue full of clichés, wordplay, and nonsense; plots that are cyclical or absurdly expansive; either a parody or dismissal of realism and the concept of the "well-made play".
Playwrights commonly associated with the Theatre of the Absurd include Samuel Beckett, Eugène Ionesco, Jean Genet, Harold Pinter, Tom Stoppard, Friedrich Dürrenmatt, Miguel Mihura, Alejandro Jodorowsky, Fernando Arrabal, Václav Havel, Edward Albee and Badal Sarkar.
== Origin ==
The term was coined by the critic Martin Esslin, who made it the title of a book on the subject first published in 1961 and in two later revised editions; the third and final edition appeared in 2004 (in paperback with a new foreword by the author). In the first edition of ''The Theatre of the Absurd'', Esslin saw the work of these playwrights as giving artistic meaning to Albert Camus's philosophy that life is inherently without meaning, as illustrated in his work ''The Myth of Sisyphus''. In the first (1961) edition, Esslin presented the four defining playwrights of the movement as Samuel Beckett, Arthur Adamov, Eugène Ionesco, and Jean Genet, and in subsequent editions he added a fifth playwright, Harold Pinter—although each of these writers has unique preoccupations and characteristics that go beyond the term "absurd."〔Martin Esslin, ''The Theatre of the Absurd'' (Garden City, NY: Doubleday, 1961). (Subsequent references to this ed. appear within parentheses in the text.)〕〔Martin Esslin, ''The Theatre of the Absurd'', 3rd ed. (New York: Vintage (), 2004). (Subsequent references to this ed. appear within parentheses in the text.)〕 Other writers associated with this group by Esslin and other critics include Tom Stoppard,〔Terry Hodgson. ''The plays of Tom Stoppard: for stage, radio, TV and film''.Palgrave Macmillan, 2001. ISBN 1-84046-241-8, ISBN 978-1-84046-241-8.pg.181.〕 Friedrich Dürrenmatt,〔Joel Agee. ''Dürrenmatt, Friedrich: Friedrich Dürrenmatt''.University of Chicago Press, 2006. ISBN 0-226-17426-3, ISBN 978-0-226-17426-6. pg. xi〕 Fernando Arrabal,〔Felicia Hardison Londré, Margot Berthold. ''The history of world theater: from the English restoration to the present''. Continuum International Publishing Group, 1999. ISBN 0-8264-1167-3, ISBN 978-0-8264-1167-9. pg. 438〕 Edward Albee,〔Barbara Lee Horn. ''Edward Albee: a research and production sourcebook''. Greenwood Publishing Group, 2003. ISBN 0-313-31141-2, ISBN 978-0-313-31141-3. pg. 13, 17 29, 40, 55, 232.〕 Boris Vian,〔Neil Cornwell. ''The Absurd in Literature''. Manchester University Press ND, 2006. ISBN 0-7190-7410-X. pg. 280.〕 and Jean Tardieu.〔〔〔
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