The Birth of the Absurdist Theatre

The birth of absurd drama An absurd drama was born to cope with the bloody war of World War I. Soldiers surrounded by death and destruction will not find any other relief but mock ridiculously of the noble ridiculous but finding traditional rhetoric and patriotism that is increasingly meaningless. This laughter reacts not only to absurdity in their situation but also to other people's absurd responses to their situation. Of this reaction, an absurd drama we know today.

Martin Esslin, author of The Abs of the Absurd, a book useful for defining the movement, thanks to the absurd tradition of Alfred Jarry's Ubu drama. The oldest one. Obviously, they are ridiculating the authority of reason by placing one of the worst desires in the leader's role, which is ridiculous. Their anti-establishment tone is inherently revolutionary. However, they later lack the tragic sense of absurd work. They are parks in the southern part of the early 20th century, manga satirical works that can gain power from illegal acts. Cartman is very similar in format and method to Ubu, but it is not a coincidence.

In his "The Absurd Theater" (1960), Martin Esslin argued that "waiting for Godot" is part of a wider literary movement, he calls it Absurd Theater. Born from the dramatic form of absurd philosophy of Albert Camus. The absurdity itself is a field of traditionalist existentialism pioneered by SørenKierkegaard and the universe seems to have an essential meaning, but human beings are due to some form of spiritual or philosophical limitations I can not find it. Therefore it is absolutely irrational that humans face absurdly or are destined to lack the existence of internal goals.

In the 1950's, a ridiculous drama of Irish writer Samuel Beckett's "Waiting for absurd things" (1955) has had a major impact on British dramas. The silly drama influenced Harold Pinter (born in 1930) (the 1958 birthday party), and its work often features threats and claustrophobia. Beckett also affected Tom Stoppard (born 1937) (both Rosencrantz and Guildenstern died in 1966). However, the work of Stoppard is famous for its high ingenuity and variety of knowledge he has dealt with in various theaters.