Compare the Endings in Two Different Theatre of the Absurd Plays.

Harold Pinter and Samuel Beckett are representatives of two representatives of The Absurd Theater. We present a world that can not explain all of their work logically. There, the landscape, language and behavior of the character is almost unintelligible and does not conform to the previously recognized theater norm. J. L Styan wrote a Pinter. "His audience feels the necessity of safety on the earth through a nightmare and ordinary subtle friction." (Dark Comedy) I think that this sentence applies to Beckett.

Most playwrights are named "absurd theaters" and I hate and dislike such classification and classification of the play. According to Martin Esslin, terms like ridiculous dramas are only to aid understanding (and only if it helps to understand art works deeply). It is not a restricted category. He said dramas may contain elements that can best be understood based on such tags but said that other elements in the same play come from different practices and can be understood It was.

Ridiculous drama: This type usually includes metaphysical representation of question and question of existence. Absurd drama denies reason and accepts that inevitably falling into the abyss of human condition is unavoidable. But an absurd drama is not to discuss these issues, but to discuss them. This allows audiences to discuss and ask questions about the contents of the script themselves. The term "game" may be a general term, or more specifically a non-music game. The term "direct play" may be used in contrast to "music". "Music" refers to scripts based on songs sung by music, dance, and screenplay characters. Sometimes the term "playlet" is used for short plays.

Critic Martin Esslin produced the word in his article "Theater of the Bad" in 1960. Just as Albert used this phrase in his article "Myth of Sisyphus" in 1942, he tells these plays based on the broad theme of absurd themes. Absurd forms of these plays are people who are dominated or threatened by human reactions to a seemingly meaningless world, or by invisible external forces. This way of writing was first promoted by Samuel Beckett's "Waiting for Goddo" (1953). Although this term applies to a wide range of plays, many plays have several features: mixed with fear and tragic images, much like a juggling show; cliches, word games and nonsense Dialogue, episodes of regular or absurd extension, whether it is imitation or disapproval of modernism, and the concept of "crafted drama"