martin esslin, from the theatre of the absurd...the theatre of absurd, however, can be seen as the...

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Martin Esslin, from The Martin Esslin, from The Theatre of the Absurd Theatre of the Absurd ...The Theatre of Absurd, however, can be seen as the reflection of what seems to be the attitude most genuinely representative of our own time.

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Page 1: Martin Esslin, from The Theatre of the Absurd...The Theatre of Absurd, however, can be seen as the reflection of what seems to be the attitude most genuinely

Martin Esslin, from The Martin Esslin, from The Theatre of the AbsurdTheatre of the Absurd...The Theatre of Absurd, however,

can be seen as the reflection of what seems to be the attitude most genuinely representative of our own time.

Page 2: Martin Esslin, from The Theatre of the Absurd...The Theatre of Absurd, however, can be seen as the reflection of what seems to be the attitude most genuinely

Martin Esslin, from The Martin Esslin, from The Theatre of the AbsurdTheatre of the AbsurdThe hallmark of this attitude is its

sense that the certitudes and unshakeble basic assumptions of former ages have been swept away, that they have been tested and found wanting, that they have been discredited as cheap and somewhat childish illusions.

Page 3: Martin Esslin, from The Theatre of the Absurd...The Theatre of Absurd, however, can be seen as the reflection of what seems to be the attitude most genuinely

Martin Esslin, from The Martin Esslin, from The Theatre of the AbsurdTheatre of the Absurd‘ Absurd’ originally means ‘Out

of harmony’, in a musical context.

This sense of metaphysical anguish at the absurdity of the human condition is the theme of the plays of Beckett, Adamov, Ionesco, Genet...

Page 4: Martin Esslin, from The Theatre of the Absurd...The Theatre of Absurd, however, can be seen as the reflection of what seems to be the attitude most genuinely

Martin Esslin, from The Martin Esslin, from The Theatre of the AbsurdTheatre of the AbsurdThis is an inner contradiction that

the dramatists of the Absurd are trying, by instinct and intuition rather than by conscious effort, to overcome and resolve.

It is the striving for an integration between the subject-matter and the form on which it is expressed that separates the Theatre of the Absurd from the Existentialist theatre.