THEATRETHEATRE OFOF THE THE ABSURDABSURD

Ensari Ensari TEKELTEKELKOUKOU İDEİDE III.III.

OUTLINEOUTLINEWhat is Absurd Theatre and What is Absurd Theatre and

What are the features of What are the features of Absurd Plays?Absurd Plays?

Dramatic TheatreDramatic Theatre

Plot: Plot: GhostsGhosts by Ibsen by IbsenAbsurd TheatreAbsurd Theatre

Plot??? Plot??? Waiting For GodotWaiting For Godot by by BeckettBeckett

What is Absurd What is Absurd Theatre?Theatre?

““Absurd” originally means Absurd” originally means “out of harmony”, in “out of harmony”, in musical context. Hence it’s musical context. Hence it’s dictionary definition: “out dictionary definition: “out of harmony with reason or of harmony with reason or property; incongruous, property; incongruous, unreasonable, and unreasonable, and illogical.” illogical.”

(Eslin, Martin. “Introductıon”(Eslin, Martin. “Introductıon” The Absurdıty of the Absurd The Absurdıty of the Absurd. New York: Anchor . New York: Anchor Boks, 1961.) Boks, 1961.)

AbsurdAbsurd Plays PlaysNo clear notion of the time No clear notion of the time

or place . or place . Characters are often Characters are often

nameless and seem nameless and seem interchangeable.interchangeable.

Themes of loneliness and Themes of loneliness and isolationisolation..

Reaction to the Reaction to the disappearance of the disappearance of the religious dimension form religious dimension form contemporary life.contemporary life.

Shocking man out of an Shocking man out of an existence that has become existence that has become mechanical and mechanical and complacent.complacent.

Absurd PlaysAbsurd PlaysAbsurd plays assumed a highly Absurd plays assumed a highly

unusual, innovative form, directly unusual, innovative form, directly aiming to startle the viewer, aiming to startle the viewer, Shaking him out of this comfortable, Shaking him out of this comfortable, conventional life of everyday conventional life of everyday concerns.concerns.

The Theatre of the Absurd openly The Theatre of the Absurd openly rebelled against conventional rebelled against conventional theatre. theatre.

It was anti-theatre.It was anti-theatre.

Absud PlaysAbsud PlaysWhatever the case or the Whatever the case or the person it could be mocked.person it could be mocked.

Stage direction, exposition Stage direction, exposition rising action and resolution rising action and resolution is is notnot importantimportant

Plots are frequently Plots are frequently cyclical cyclical

Features of Absurd Features of Absurd PlaysPlays

There is no dramatic There is no dramatic conflict in the absurd conflict in the absurd plays. plays.

In these plays, the In these plays, the dramatists use illogical dramatists use illogical situationssituations

Unconventional Unconventional dialoguesdialogues

It was surreal, illogical, It was surreal, illogical, conflictless and plotless. conflictless and plotless.

In absurd theatre In absurd theatre message is not message is not expalined and everyone expalined and everyone comment on it by their comment on it by their ways.ways.

All characters could All characters could be mocked.be mocked.

In Absurd Theatre In Absurd Theatre there is lackthere is lack of of communication communication between characters.between characters.

Alienation effect is Alienation effect is used in Absurd used in Absurd Theatre Theatre

Theatre of the Absurd Theatre of the Absurd expresses a sense of expresses a sense of shock at the absence, shock at the absence, the loss of any such the loss of any such clear and well defined clear and well defined systems of beliefs or systems of beliefs or values.values.

Features of Absurd PlaysFeatures of Absurd PlaysObjects are much more important than Objects are much more important than

language in absurd theatre: what language in absurd theatre: what happens transcends what is being said happens transcends what is being said about it. about it.

The role of language is relatively The role of language is relatively secondary.secondary.

It is against the more conventional It is against the more conventional theatre of sequential events.theatre of sequential events.

It presents a pattern of poetic images. It presents a pattern of poetic images. It uses visual elements, movement, It uses visual elements, movement,

light. light. It is lyrical theatre uses abstract scenic It is lyrical theatre uses abstract scenic

effects: mime, ballet, acrobatics, effects: mime, ballet, acrobatics, conjuring, music-hall clowning. conjuring, music-hall clowning.

Dramatic TheatreDramatic TheatreCause and effect relationship Cause and effect relationship The scenes are connected to each The scenes are connected to each

otherotherOne scene makes another One scene makes another Simple action or object can have Simple action or object can have

meaningmeaningPity and fear among the audience Pity and fear among the audience Praise their own lifePraise their own lifeAudience is passive Audience is passive It could happen to you!!!It could happen to you!!!In Dramatic Theater, there is linear In Dramatic Theater, there is linear

developmentdevelopment

Ghosts Ghosts & & Waiting for Waiting for GodotGodot

A realist play- A realist play- GhostsGhosts- - IbsenIbsen

It is a well made play, and It is a well made play, and it is a realist play. it is a realist play.

Plot structure until the Plot structure until the page 76 it is expositionpage 76 it is exposition

Mrs. Alving:Mrs. Alving: The Truth is The Truth is this: My husband continued this: My husband continued to be depraved profilage to to be depraved profilage to the day of this death.the day of this death. ((G G 76)76)

Plot Plot of of GhostsGhostsClimax 86- Orphanage is burnedClimax 86- Orphanage is burned

Regine:Regine: It’s Orphanage- the orphanage It’s Orphanage- the orphanage is on fire!is on fire!

Mrs. Alving: On fireMrs. Alving: On fire ?(?(GG 86) 86)

Then falling actionThen falling action

Page 91 Resolution: Death of OsvaldPage 91 Resolution: Death of Osvald

Osvald: The Sun- The SunOsvald: The Sun- The Sun

Mrs: Alving: I can’t bear it! Never! Where Mrs: Alving: I can’t bear it! Never! Where did he putdid he put them?them? Here! Here! No, no;no!- Yes! No, no;no!- Yes! No; no! No; no!

Osvald: The sun- The sunOsvald: The sun- The sun ((G G 91)91)

Ghosts reflects the general Ghosts reflects the general accepted idea of eraaccepted idea of era

Mrs. Alving & Captain Alving’s Mrs. Alving & Captain Alving’s marriage based on economical Issuesmarriage based on economical Issues

Captain Alving was a “Wealthy” man Captain Alving was a “Wealthy” man and had a higher social status their and had a higher social status their marriage also depends on moneymarriage also depends on moneyManders : “ The immorality of such Manders : “ The immorality of such a marriage and for money too!”a marriage and for money too!”

Women Were Not Free To Choose Women Were Not Free To Choose Their Husbands Pressure From Their Husbands Pressure From Family And SocietyFamily And Society

((G G 76)76)

PlotPlot ofof GhostsGhosts

Manders:Manders: “... Your decision was based “... Your decision was based on the advice of relatives and friends .. on the advice of relatives and friends .. You consulted your mother – your two You consulted your mother – your two aunts – all those nearest to you – as was aunts – all those nearest to you – as was only right”only right”Mrs. Alving:”Yes – those three! They Mrs. Alving:”Yes – those three! They were the ones that settled the whole were the ones that settled the whole business for me. As I look back on it, it business for me. As I look back on it, it seems incredible.They pointed out , in seems incredible.They pointed out , in the most forceful terms , that it would the most forceful terms , that it would be nothing short of folly to refuse an be nothing short of folly to refuse an offer of such magnificence!offer of such magnificence! ((G G 78)78)

Even the boks of that era could be reflected in Even the boks of that era could be reflected in the play and the general idea of the time could the play and the general idea of the time could

be reflected on the play in realistic waybe reflected on the play in realistic wayManders:Manders: You really read this sort of thing? You really read this sort of thing?Mrs AlvingMrs Alving: Of course I do.: Of course I do.Manders:Manders: Do you feeel this type of reading Do you feeel this type of reading

makes you any better- any happier?makes you any better- any happier?Mrs Alving:Mrs Alving: It gives me a certain confidence. It gives me a certain confidence.Manders:Manders: Extraordinary! How do you mean? Extraordinary! How do you mean?Mrs Alving:Mrs Alving: It seems to clarify and confirn It seems to clarify and confirn

many things I’ve thought about myself. The many things I’ve thought about myself. The strange thing is, Mr Manders, there’s really strange thing is, Mr Manders, there’s really nothing new in any of this boks;they deal nothing new in any of this boks;they deal with subjects that most of us think about and with subjects that most of us think about and believe in;though I dare to say most people believe in;though I dare to say most people don’t take the trouble to look into them very don’t take the trouble to look into them very deeply- or face them very honestly. deeply- or face them very honestly. ((GG 71) 71)

Waiting For GodotWaiting For GodotThe play revolves around two men, who The play revolves around two men, who

are filling their days waiting for somebody are filling their days waiting for somebody called Godot. Who was Godotcalled Godot. Who was Godot

Not a play to which has traditional plot, Not a play to which has traditional plot, action and structure. action and structure.

Double structure in Double structure in Waiting for GodotWaiting for Godot linear and cynical.linear and cynical.

The major structural devices are parallels.The major structural devices are parallels.Repetition Repetition In each act Vladimir asks Estragon how he In each act Vladimir asks Estragon how he

spent the night, in each act Vladimir offers spent the night, in each act Vladimir offers to embrace Estragon and later does not, at to embrace Estragon and later does not, at first, kindly take this gesture. Every now first, kindly take this gesture. Every now and then, Estragon says:and then, Estragon says:

Estragon:Estragon: Well, shall we go?Well, shall we go?

Vladimir:Vladimir: Yes Lets’ goYes Lets’ go

(They don’t move)(They don’t move)(WG (WG 54)54)

And ActAnd Act II ends with the II ends with the similar dialoguesimilar dialogue

Vladimir:Vladimir: Well, Shall we go?Well, Shall we go?

Estragon: Yes, let’s go.Estragon: Yes, let’s go.

(They don’t Move)(They don’t Move) (WG (WG 94)94)

In both In both acts Vladimir asks Estragon whethacts Vladimir asks Estragon whether he recognizes the place, each er he recognizes the place, each

time Estragon’s memory time Estragon’s memory fails, similar is the case with fails, similar is the case with

Pozzo. Pozzo. In Act II Pozzo is unable to collect In Act II Pozzo is unable to collect thatthat met Estragon and Vladimir on met Estragon and Vladimir on

the previous day.the previous day. Vladimir:Vladimir: The same as yesterday? The same as yesterday?Pozzo:Pozzo: Yesterday? Yesterday?Vladimir:Vladimir: We met yesterday. Do you not remember? We met yesterday. Do you not remember?Pozzo:Pozzo: I don’t remember having met anyone I don’t remember having met anyone

yesterday. But tomorrow I won’t remember having yesterday. But tomorrow I won’t remember having met anyone today. So don’t Count on me to met anyone today. So don’t Count on me to enlighten you.enlighten you.((WGWG 88) 88)

IIn each act Estragon wants to be n each act Estragon wants to be allowed to sleep and in all turn Vladimir allowed to sleep and in all turn Vladimir

doesn’t want Estragon to tell him his doesn’t want Estragon to tell him his dreamsdreams

EstragonEstragon: I was asleep!: I was asleep! Why will you never let Why will you never let

me sleep?me sleep?Vladimir:Vladimir: I felt lonely. I felt lonely.Estragon:Estragon: I had a I had a

dream.dream.Vladimir:Vladimir: Don’t tell me! Don’t tell me!Estragon:Estragon: I dreamt that- I dreamt that-Vladimir:Vladimir: DON’T TELL DON’T TELL

ME!ME!((WG WG 16)16)

Estragon:Estragon: Ah! Ah!Vladimir:Vladimir: There… There…

there.. it’s all over.there.. it’s all over.Estragon:Estragon: I was falling- I was falling-Vladimir:Vladimir: It’s All over, It’s All over,

it’s all over.it’s all over.Estragon:Estragon: I was on top I was on top

of a-of a-Vladimir:Vladimir: Don’t tell Don’t tell

me. Come, we will me. Come, we will walk it off.walk it off.(WG 70)(WG 70)

Absence, emptiness, nothingness, and Absence, emptiness, nothingness, and unresolved mysteries are central features unresolved mysteries are central features

No linear development it’s circular,No linear development it’s circular,There are repetations. There are repetations. No rising action, no climax and there is No rising action, no climax and there is

no resolution.no resolution.Nothing changes. There is no integrity in Nothing changes. There is no integrity in

the play, this is because there is no cause the play, this is because there is no cause and effect relation.and effect relation.

Recognition and forgetfulness also act Recognition and forgetfulness also act as structural principles in both the acts. as structural principles in both the acts.

The wait is terminated in both the acts by The wait is terminated in both the acts by the arrival of a messenger, a little boy. the arrival of a messenger, a little boy.

Before going away, they together think of Before going away, they together think of suicide. In each act, they say that they suicide. In each act, they say that they are leaving and do not leave the place. are leaving and do not leave the place. 

A QA Quotationuotation””It may well be that the sighting of this little It may well be that the sighting of this little

boy- undoubtedly a climatic event in the play- boy- undoubtedly a climatic event in the play- stands for redemption from the illusion and stands for redemption from the illusion and evenescence of time through the recognition, evenescence of time through the recognition, and acceptence, of higher reality;the little and acceptence, of higher reality;the little boy contempltates his own navel;that is, he boy contempltates his own navel;that is, he fixes his attention on the great emptiness of fixes his attention on the great emptiness of nirvana, nothingness, of which Democritus nirvana, nothingness, of which Democritus the Abderite has said, in one of Beckett’s the Abderite has said, in one of Beckett’s Favorite quatations,”Nothing is more real Favorite quatations,”Nothing is more real than nothing.”than nothing.”

(Eslin, Martin. (Eslin, Martin. The Theatre of The The Theatre of The Absurd. New York: Anchor Boks, Absurd. New York: Anchor Boks, 1961.)1961.)

Waiting for GodotWaiting for Godot is lack of plot, does not tell is lack of plot, does not tell a story, it explores a static situation a story, it explores a static situation

“Nothing happens, nobody comes, nobody “Nothing happens, nobody comes, nobody goes, it’s awful.”goes, it’s awful.”

Estragon:Estragon: Well, Well, shall we go?shall we go?

Vladimir:Vladimir: Yes Lets’ Yes Lets’ gogo

(They don’t move)(They don’t move)(WG (WG 5454))

Act II ends with the Act II ends with the similarsimilar dialoguedialogue

Vladimir: Well, Shall Vladimir: Well, Shall we go?we go?

Estragon: Yes, let’s Estragon: Yes, let’s go.go.

(They don’t Move)(They don’t Move)(WG (WG 94)94)

StructureStructureThe structure of The structure of Waiting for GodotWaiting for Godot is  is

unique. It is not like dramatic theatre, unique. It is not like dramatic theatre, there are no cause and effect there are no cause and effect relationship in relationship in Waiting for Godot,Waiting for Godot, an an action doesn’t effect the other action. action doesn’t effect the other action. We don’t know very much about the We don’t know very much about the time, place and character analysis.time, place and character analysis.

We only know: A country road. A tree. We only know: A country road. A tree. EveningEvening

((WG WG 8)8)

Next day. Same PlaceNext day. Same Place((WG WG 55)55)

Also we can estimate Vladimir Also we can estimate Vladimir and Estrand Estraaggoon are not young, in n are not young, in their speechtheir speech

Vladimir: Vladimir: “We should have “We should have thought of it when the world thought of it when the world was young, in the nineties.. was young, in the nineties.. Hand in hand from the top of Hand in hand from the top of the Eiffel Tower, among the firs. the Eiffel Tower, among the firs. We were respectable in those We were respectable in those days.days. Now it’s too late. They Now it’s too late. They wouldn't even let us up”wouldn't even let us up” ((WG WG 10)10)

FinallyFinallyTThere is no cause and effect here is no cause and effect

relationship among events, relationship among events, Scenes are not connected to each Scenes are not connected to each

other, other, One scene doesn’t make another. One scene doesn’t make another. No catharsis. No catharsis. The audience can not put themselves The audience can not put themselves

in the shoes of the characters.in the shoes of the characters.Doesn’t addresses to emotions of the Doesn’t addresses to emotions of the

audience audience AudienceAudience is not is not passivepassive in the play in the play

they feel uncomfortable.they feel uncomfortable.

Thank YouThank You