THEATER OF THE ABSURD: ORIGIN, CHARACTERISTICS, AUTHORS, WORKS - ART - 2025

The theater of the absurd is a dramatic style developed in the 1950s and 1960s around Europe. The term was implemented by Martin Esslin, a critic of Hungarian origin who defined this style of theatrical texts in this way in his book entitled Theater of the absurd.

This is how a large number of dramaturgical works were grouped that projected the human condition as an aspect devoid of meaning. Part of this concept of the absurd is supported by the philosophical work of Albert Camus The myth of Sisyphus (1942), an essay in which he states that human life is insignificant and its value only resides in what arises from creation.

Scene from "La Cantante Calva" by Ionesco. One of the most representative works of the theater of the absurd. Miomir Polzović

Esslin uses the word "absurd" using its pure meaning, which expresses that absurd is anything contrary and opposite to reason, which has no meaning. It can thus be seen as something shocking, contradictory, arbitrary, irregular, crazy and even extravagant. Within these characteristics the theater defined as absurd tends to unfold.

Generally, this type of dramaturgy resorts to questioning human existence, establishes a gap, unevenness or an impossibility of concrete and effective communication. It also proposes characters whose existence, context or situation, within the piece, is seen as lacking in purpose or meaning.

Origins of the theater of the absurd

The beginnings of the theater of the absurd occur in the decades after the Second World War, specifically during the 50s and 60s around the European continent. The content of the theatrical works of this style, their themes and their characters, is usually described as a product that arises from the moral, religious, political and social collapse caused by the two great world wars of the 20th century.

It was the work of Martin Esslin that gave its name to this theater movement. Among the most recognized playwrights of the time are Samuel Beckett, Eugene Ionesco and Jean Genet. His theatrical texts were part of the main references that Esslin used to write his work on the theater of the absurd.

Esslin was in charge of establishing some movements as the main precursors. Among them he mentions the influence of the comedy of art and also the content of the tragicomedy. In the latter he makes note of the presence of the comic element within the unhappiness of the tragic.

Among other influences, he also mentions Pataphysics, which is a discipline that studies imaginary solutions. Dadaism also figures, a movement that arose in opposition to the codes and systems of art at the beginning of the 20th century. This is opposed to the eternity of principles, laws, beauty and logic and instead, moves in favor of the spontaneous, random, contradictory and imperfect.

Surrealism is also mentioned for its relationship with the fact of transcending the real, the pre-established and seeking the irrational impulse.

characteristics

The theater of the absurd has characteristics that distinguish it from other forms of art. The dramatic structures within the written work, the construction of the characters, the situations and other resources have certain particular details. Among the most outstanding characteristics of the theater of the absurd are:

–At the level of structure, absurd text is not the same as texts with a traditional logical structure.

-Dramatic actions are usually short and the development of the story, as for example in the play "Waiting for Godot" by Samuel Beckett, may have a circular character in which neither the initial situations nor the characters are modified or transformed towards The end of the story.

–The time factor does not follow a strict linear order. It does not imply a chronology of events.

–The language can be dislocated, it includes hackneyed phrases, word games, repetitions and it even tends to break with the continuity of some moment.

-The ridiculous and the absence of meaning, are resources aimed at showing a comic layer but which at the same time allow us to glimpse a background message.

- The background content within the absurd generally covers topics such as politics, religion, morality and social structures.

–The characters within the world of the absurd are located within an incomprehensible universe and lack a completely rational discourse.

–Among other aspects, the characters can be in a frenzied state and neither the environment nor the situation that surrounds them usually generates a final transformation.

–Among other characteristics, the characters are drawn from stereotypes or predefined archetypes. They can also be seen as plans, similar to the construction of the characters within the comedy of art.

- There is no concrete conflict within the absurd work.

-The action does not spin the story from a logical way, however, it allows the progression of the work.

–Within some analyzes of the theater of the absurd, there is talk of a type of dramaturgy that is inclined to reflect a mechanical and automatic existence of man.

Authors and works

- Eugene Ionesco (1909 - 1994)

Franco-Romanian playwright remembered as one of the main representatives of the theater of the absurd. He was widely recognized and in 1970 he became a member of the French Academy. Among his most outstanding works are La Cantante Calva and La Lesson.

The bald singer

Published in 1950, it was Ionesco's first creation. It is inspired by an English study guide used by Ionesco during the time it spent learning the language. She drew on the nonsensical topics and situations within the book for the foundation of her work. In this piece he draws the model of the bourgeoisie of the time.

The lesson

Presented for the first time in 1951, it tells the story of a young woman who receives private lessons from an elderly teacher. In the course of the play, the lessons taught become more and more complex to the point where the student fails to understand.

The girl who is initially enthusiastic becomes weak and discouraged, while the shy teacher becomes totally aggressive. Finally, the old man ends the life of the young woman and subsequently receives her 41st student of the day, with whom the same story will be repeated.

- Samuel Beckett (1906-1989)

He was a writer, playwright and critic of Irish origin, widely recognized for his theatrical works. He was the winner of the Nobel Prize for Literature in 1969. Among his most outstanding works is the work Waiting for Godot, an iconic piece within the theater of the absurd and of great global relevance.

Scene from "Waiting for Godot" by Samuel Beckett. Iconic piece of the theater of the absurd.

Merlaysamuel

Waiting for Godot

Released in 1953, a piece divided into two acts in which the story of two characters known as Vladimir and Estragon is told, who meet near a tree and wait for a person named Godot. During the wait, both characters have a variety of discussions and bump into other characters.

First they meet a man with his slave, who go to the market to sell the latter. Later they meet a boy who claims to be Godot's messenger and notifies that he will not come tonight but the next day. Both Vladimir and Estragon decide to leave but neither leaves.

During the second act the encounters are repeated with the difference that neither the man with his slave, nor the young man, remember having run into Vladimir and Estragon the day before. The boy again gives the message that Godot will not arrive and the two main characters decide to leave, but again they never leave.

- Jean Genet (1910-1986)

Writer and playwright of French origin who, before being a renowned author, was a criminal outcast from his society. He grew up an illegitimate son in a peasant family.

He was caught at age 10 in acts of theft and attended a reformatory school during his teens. In his autobiographical text Journal du voleur (1949), he narrates in detail multiple events of the murky moments of his life.

He began writing in 1942 during his stay in prison, where he wrote a novel known as Our Lady of the Flowers.

Shortly after, he would draw the attention of the writing community who appealed to the president not to be sentenced to life imprisonment. Later he would be recognized for his contribution to the theater of the absurd through his theatrical pieces.

1. Theater of the Absurd. Wikipedia, The Free Encyclopedia. Recovered from en.wikipedia.org
2. Waiting for Godot Summary. Sparknotes. Recovered from sparknotes.com
3. The Editors of Encyclopaedia Britannica (2019) Theater of the Absurd. Encyclopaedia Britannica, inc. Recovered from britannica.com
4. Esslin M (2019). Samule Beckett. Encyclopaedia Britannica, inc. Recovered from britannica.com
5. The Editors of Encyclopaedia Britannica (2019). Eugene Ionesco. Encyclopaedia Britannica, inc. Recovered from britannica.com
6. The Editors of Encyclopaedia Britannica (2019). Jean Genet. Encyclopaedia Britannica, inc. Recovered from britannica.com
7. Dadaism. Contemporary art. Art Spain. Recovered from arteespana.com
8. Dickson A (2017). Nonsense talk: Theater of the Absurd. British Library. Recovered from bl.uk
9. Culik J (2000). The Theater of the Absurd. Recovered from blisty.cz
10. Núñez R. The theater of the absurd as a dramatic subgenre. Oviedo University. Recovered from unioviedo.es