The Theatre Of The Absurd Analysis

the term “Theatre of the Absurd” through his seminal work The Theatre of the Absurd (1961) that gave readers a better understanding of this particular theatrical form. It is not an organised movement nor does it represent a particular school of artists, and hence a number of playwrights who have been classified as such deny that they belong to such a movement, and rightfully so. This is simply because the playwrights concerned consider their wish to express their own personal vision of the world as more important than being classified by some label. However, their writings reveal that they are linguistic exiles, cut off from society. Each playwright in question is a lone outsider, an individual isolated in their respective private worlds (Esslin 22). In other words, the heart of the Theatre of Absurd lies deep inside the detached perspective of the outcast.

Even though absurdist theatre has its own distinct form of expression that is unique for each playwright, they do share a lot of common traits in how they tackle their subject matters. This personal point of view not only provides us with intimate experiences and visions but also gives insights into their own personal spheres and societies that they live in. But, it is the common ground of the outsider that grants them motivation and triggers their artistic abilities. Some of the playwrights who have been categorised as absurdist like Samuel Beckett, Arthur Adamov, Eugène Ionesco, Jean Genet, Boris Vian and of course,