An Introduction to 1. Philosophical Background of Waiting for GodotTheatre of AbsurdExistentialism2. Becket: Critical Analysis (Analytical Mapping)Characters
Beckett is one of the most widely discussed and highly prized of twentieth century authors, inspiring a critical industry to rival that which has sprung up around James Joyce.
Of all the English-language modernists, Beckett's work represents the most sustained attack on the realist tradition. Of all the English-language modernists, Beckett's work represents the most sustained attack on the realist tradition. He, more than anyone else, opened up the possibility of drama and fiction that dispense with conventional plot and the unities of place and time in order to focus on essential components of the human condition. Writers like Václav Havel, John Banville, Aidan Higgins and Harold Pinter have publicly stated their indebtedness to Beckett's example, but he has had a much wider influence on experimental writing since the 1950s, from the Beat generation to the happenings of the 1960s and beyond.
Effects of World War II (62 million people killed [37.5 million in WWI]; Effects of World War II (62 million people killed [37.5 million in WWI]; 12 million in concentration camps; Atomic bomb and the promise of annihilation)
The term "Theatre of the Absurd" was coined by Martin Esslin in a book of the same name; Beckett and Godot were centerpieces of the book. Esslin claimed these plays were the fulfillment of Albert Camus's concept of "the absurd"; this is one reason Beckett is often falsely labeled as an existentialist.
Though many of the themes are similar, Beckett had little affinity for existentialism as a whole. Though many of the themes are similar, Beckett had little affinity for existentialism as a whole.Broadly speaking, the plays deal with the subject of despair and the will to survive in spite of that despair, in the face of an uncomprehending and, indeed, incomprehensible world.
The words of Nell—one of the two characters in Endgame who are trapped in ashbins, from which they occasionally peek their heads to speak—can best summarize the themes of the plays of Beckett's middle period: The words of Nell—one of the two characters in Endgame who are trapped in ashbins, from which they occasionally peek their heads to speak—can best summarize the themes of the plays of Beckett's middle period:
The term theater of the absurd derives from the philosophical use of the word absurd by such existentialist thinkers as Albert CAMUS and Jean Paul SARTRE. The term theater of the absurd derives from the philosophical use of the word absurd by such existentialist thinkers as Albert CAMUS and Jean Paul SARTRE. Camus, particularly, argued that humanity had to resign itself to recognizing that a fully satisfying rational explanation of the universe was beyond its reach; in that sense, the world must ultimately be seen as absurd.
The playwrights loosely grouped under the label of the absurd endeavor to convey their sense of bewilderment, anxiety, and wonder in the face of an inexplicable universe. The playwrights loosely grouped under the label of the absurd endeavor to convey their sense of bewilderment, anxiety, and wonder in the face of an inexplicable universe. They rely heavily on poetic metaphor as a means of projecting outward their innermost states of mind. Hence, the images of the theater of the absurd tend to assume the quality of fantasy, dream, and nightmare; they do not so much portray the outward appearance of reality as the playwright's emotional perception of an inner reality.
One of the most important aspects of absurd drama was its distrust of language as a means of communication. One of the most important aspects of absurd drama was its distrust of language as a means of communication. Language had become a vehicle of conventionalized, stereotyped, meaningless exchanges. Words failed to express the essence of human experience, not being able to penetrate beyond its surface. The Theatre of the Absurd constituted first and foremost an onslaught on language, showing it as a very unreliable and insufficient tool of communication.
Absurd drama uses conventionalized speech, clichés, slogans and technical jargon, which is distorts, parodies and breaks down. Absurd drama uses conventionalized speech, clichés, slogans and technical jargon, which is distorts, parodies and breaks down. By ridiculing conventionalized and stereotyped speech patterns, the Theatre of the Absurd tries to make people aware of the possibility of going beyond everyday speech conventions and communicating more authentically. Conventionalized speech acts as a barrier between ourselves and what the world is really about: in order to come into direct contact with natural reality, it is necessary to discredit and discard the false crutches of conventionalized language.
Objects are much more important than language in absurd theatre: what happens transcends what is being said about it. Objects are much more important than language in absurd theatre: what happens transcends what is being said about it. It is the hidden, implied meaning of words that assume primary importance in absurd theatre, over an above what is being actually said. The Theatre of the Absurd strove to communicate an undissolved totality of perception - hence it had to go beyond language.
Absurd drama subverts logic. It relishes the unexpected and the logically impossible. …In trying to burst the bounds of logic and language the absurd theatre is trying to shatter the enclosing walls of the human condition itself. Absurd drama subverts logic. It relishes the unexpected and the logically impossible. …In trying to burst the bounds of logic and language the absurd theatre is trying to shatter the enclosing walls of the human condition itself. Our individual identity is defined by language, having a name is the source of our separateness - the loss of logical language brings us towards a unity with living things. In being illogical, the absurd theatre is anti-rationalist: it negates rationalism because it feels that rationalist thought, like language, only deals with the superficial aspects of things. Nonsense, on the other hand, opens up a glimpse of the infinite. It offers intoxicating freedom, brings one into contact with the essence of life and is a source of marvelous comedy.
No dramatic conflict in the absurd plays! Dramatic conflicts, clashes of personalities and powers belong to a world where a rigid, accepted hierarchy of values forms a permanent establishment. No dramatic conflict in the absurd plays! Dramatic conflicts, clashes of personalities and powers belong to a world where a rigid, accepted hierarchy of values forms a permanent establishment. Such conflicts, however, lose their meaning in a situation where the establishment and outward reality have become meaningless.
However frantically characters perform, this only underlines the fact that nothing happens to change their existence. Absurd dramas are lyrical statements, very much like music: they communicate an atmosphere, an experience of archetypal human situations. However frantically characters perform, this only underlines the fact that nothing happens to change their existence. Absurd dramas are lyrical statements, very much like music: they communicate an atmosphere, an experience of archetypal human situations. The Absurd Theatre is a theatre of situation, as against the more conventional theatre of sequential events. It presents a pattern of poetic images. In doing this, it uses visual elements, movement, light.
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