Absurdist Surrealism

Absurdist Theater
-The Theater of the Absurd, known as Théâtre de l'Absurde in French, refers to a

genre of plays written by various European playwrights during the late 1940s, 1950s,
and 1960s, as well as the theatrical style that emerged from their works. The term was
coined by critic Martin Esslin, who published a book with the same title in 1961. In
his initial edition of "The Theater of the Absurd," Esslin associated these playwrights
with Albert Camus' philosophy that life lacks inherent meaning, as seen in Camus'
work "The Myth of Sisyphus."
-Many plays in this genre share common characteristics, such as a blend of broad
comedy, akin to vaudeville, with disturbing or tragic imagery, characters trapped in
hopeless situations performing repetitive or meaningless actions, dialogue filled with
clichés, wordplay, and nonsense, and plots that either parody or reject realism and the
conventional "well-made play" concept. The four primary playwrights initially
identified in the movement were Samuel Beckett, Arthur Adamov, Eugene Ionesco,
and Jean Genet, with Harold Pinter added in subsequent editions. However, each
writer had unique techniques and concerns that extended beyond the label of
"absurd."
-Absurdist playwrights, like Eugene Ionesco, perceived humanity as adrift in a world
where all actions became senseless and purposeless. Absurdist drama often disregards
traditional cause-and-effect relationships, reduces characters to archetypes, avoids
specifying a particular setting, and portrays the world as alienating and
incomprehensible.
-The sources of absurdist theater are diverse, drawing from surrealism, Dadaism, and
existentialism, as well as the traditions of music hall, vaudeville, burlesque, and
influences from Charlie Chaplin and Buster Keaton films. For instance, Arthur
Adamov's "La Parodie" (1952) was influenced philosophically by existentialism and
structurally by surrealism.
-One of the most notable absurdist plays is Eugene Ionesco's "La cantatrice chauve"
(The Bald Soprano, 1950), which challenges conventional dramatic norms, including
character motivation and communication. Ionesco described it as an "antiplay."
Another iconic work in the genre is Samuel Beckett's "En attendant Godot" (Waiting
for Godot, 1953), featuring two tramps engaging in futile activities while waiting for a
savior who never arrives.
GROTESQUE
-For a period, Friedrich Durrenmatt and Max Frisch, the prominent Swiss
playwrights of the postwar era, were associated with the absurdist movement due to
their plays deviating from traditional realism. Nonetheless, their somber and
exaggerated allegories differed significantly from the works of Ionesco and Beckett.
In fact, Durrenmatt preferred to categorize his plays as "grotesque" rather than
"absurd."
DADAISM
-Dada, also known as Dadaism, emerged in Zurich, Switzerland, during World War I
and reached its peak between 1916 and 1922. This cultural movement encompassed
various forms of expression, including visual arts, literature, poetry, art manifestos, art
theory, theater, and graphic design. It primarily channeled its anti-war sentiments by
rebelling against established artistic norms through provocative anti-art creations.
-Dadaists engaged in a wide range of activities, such as organizing public gatherings,
staging demonstrations, and publishing art and literary journals. They passionately
explored topics related to art, politics, and culture across various media. The impact of
the Dada movement resonated in subsequent artistic styles like the avant-garde and
downtown music movements, as well as in the works of groups such as surrealism,
Nouveau réalisme, pop art, Fluxus, and punk rock.
-Dada laid the groundwork for abstract art and sound poetry, served as a precursor to
performance art, and paved the way for the advent of postmodernism. It also
influenced the development of pop art and found renewed relevance for anarchic
political purposes in the 1960s, ultimately serving as a foundation movement for
surrealism.
SURREALISM
Surrealism emerged as a result of Dada activities during World War I, with Paris
serving as its primary hub. Starting in the 1920s, the movement gradually spread
worldwide, leaving its mark on various aspects of culture such as the visual arts,
literature, film, music, languages, political ideologies, philosophy, and social theory.
In the 1960s, the renowned German play by Peter Weiss, often referred to as
"Marat/Sade," drew inspiration from Bertolt Brecht's techniques, particularly in its use
of political songs and a narrator who comments on the unfolding events. However, in
the London production directed by Peter Brook, Weiss incorporated provocative and
often physical elements, notably the vivid portrayal of insanity by each actor. These
elements were influenced by the ideas of Artaud, a theater visionary associated with
surrealism. Artaud envisioned a visceral theater of cruelty that would compel
audiences to confront their deepest desires through movements and gestures.
In the late 20th century, witty surrealism characterized some theatrical works,
exemplified by Tom Stoppard's brilliant wordplay and startling juxtapositions.
Additionally, playwrights like Sam Shepard ("Buried Child," 1978) and David Mamet
("Glengarry Glen Ross," 1983) explored American culture with a hyper-realistic
approach infused with elements reminiscent of the theater of cruelty. They achieved
their effects through minimalist settings, spare dialogue, meaningful silences, the
projection of an underlying sense of menace, and instances of actual or implied
violence. Surrealist works are characterized by their ability to surprise and create
unexpected connections.

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Absurdist Theater

-The Theater of the Absurd, known as Théâtre de l'Absurde in French, refers to a

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