1120:âlike many other absurdist charactersâgo through routine dialogue full of clichĂ©s without actually communicating anything substantive or making a human connection. In other cases, the dialogue is purposefully elliptical; the language of absurdist theater becomes secondary to the poetry of the concrete and objectified images of the stage. Many of Beckett's plays devalue language for the sake of the striking tableau. Harold Pinterâfamous for his "Pinter pause"âpresents more subtly elliptical dialogue; often the primary things characters should address are replaced by ellipsis or dashes. The following exchange between Aston and Davies in
31:
556:, comparing the absurdists to Sartre and Camus, said to Ionesco, "It seems to me that Beckett, Adamov and yourself started out less from philosophical reflections or a return to classical sources, than from first-hand experience and a desire to find a new theatrical expression that would enable you to render this experience in all its acuteness and also its immediacy. If Sartre and Camus thought out these themes, you expressed them in a far more vital contemporary fashion." Ionesco replied, "I have the feeling that these writers â who are serious and important â were talking about
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coupled with the inadequacy of language to form meaningful human connections. According to Martin Esslin, absurdism is "the inevitable devaluation of ideals, purity, and purpose" Absurdist drama asks its viewer to "draw his own conclusions, make his own errors". Though
Theatre of the Absurd may be seen as nonsense, they have something to say and can be understood". Esslin makes a distinction between the dictionary definition of
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272:. Friedrich DĂŒrrenmatt says in his essay "Problems of the Theatre", "Comedy alone is suitable for us ⊠But the tragic is still possible even if pure tragedy is not. We can achieve the tragic out of comedy. We can bring it forth as a frightening moment, as an abyss that opens suddenly; indeed, many of Shakespeare's tragedies are already really comedies out of which the tragic arises."
1295:, a couple must deal with a corpse that is steadily growing larger and larger; Ionesco never fully reveals the identity of the corpse, how this person died, or why it is continually growing, but the corpse ultimately â and, again, without explanation â floats away. In Tardieu's "The Keyhole" a lover watches a woman through a keyhole as she removes her clothes and then her flesh.
465:, pseudonym of José Joaquim de Campos Leão, released during the last years of his life several theatrical works that can be classified as precursors of the theater of the absurd. However, he is little known, even in his homeland, but works such as "Mateus e Mateusa" are gradually being rediscovered by scholars in Brazil and around the world.
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from Spain. As the influence of the absurdists grew, the style spread to other countriesâwith playwrights either directly influenced by absurdists in Paris or playwrights labelled absurdist by critics. In
England, some of those whom Esslin considered practitioners of the theatre of the absurd include
1015:
The characters in absurdist drama are lost and floating in an incomprehensible universe and they abandon rational devices and discursive thought because these approaches are inadequate. Many characters appear as automatons stuck in routines speaking only in cliché (Ionesco called the Old Man and Old
540:
by questioning: "Why is there one man who resists? At least we could learn why, but no, we learn not even that. He resists because he is there." Sartre's criticism highlights a primary difference between the theatre of the absurd and existentialism: the theatre of the absurd shows the failure of man
162:
The
Theatre of the Absurd attacks the comfortable certainties of religious or political orthodoxy. It aims to shock its audience out of complacency, to bring it face to face with the harsh facts of the human situation as these writers see it. But the challenge behind this message is anything but one
1156:
Lucky: Given the existence as uttered forth in the public works of
Puncher and Wattmann of a personal God quaquaquaqua with white beard quaquaquaqua outside time without extension who from the heights of divine apathia divine athambia divine aphasia loves us dearly with some exceptions for reasons
1107:
Despite its reputation for nonsense language, much of the dialogue in absurdist plays is naturalistic. The moments when characters resort to nonsense language or clichĂ©sâwhen words appear to have lost their denotative function, thus creating misunderstanding among the charactersâmake the theatre of
1046:
the main character, Alfred, is menaced by Claire
Zachanassian; Claire, richest woman in the world, with a decaying body and multiple husbands throughout the play, has guaranteed a payout for anyone in the town willing to kill Alfred. Characters in absurdist drama may also face the chaos of a world
167:
there are no easy solutions to the mysteries of existence, because ultimately man is alone in a meaningless world. The shedding of easy solutions, of comforting illusions, may be painful, but it leaves behind it a sense of freedom and relief. And that is why, in the last resort, the
Theatre of the
1147:
Much of the dialogue in absurdist drama (especially in
Beckett's and Albee's plays) reflects this kind of evasiveness and inability to make a connection. When language that is apparently nonsensical appears, it also demonstrates this disconnection. It can be used for comic effect, as in Lucky's
1002:
Plays within this group are absurd in that they focus not on logical acts, realistic occurrences, or traditional character development; they, instead, focus on human beings trapped in an incomprehensible world subject to any occurrence, no matter how illogical. The theme of incomprehensibility is
560:
and death, but that they never really lived these themes, that they did not feel them within themselves in an almost irrational, visceral way, that all this was not deeply inscribed in their language. With them it was still rhetoric, eloquence. With Adamov and
Beckett it really is a very naked
185:
essay "Myth of
Sisyphus", as it uses the word "absurdity" to describe the human situation: "In a universe that is suddenly deprived of illusions and of light, man feels a stranger. ⊠This divorce between man and his life, the actor and his setting, truly constitutes the feeling of Absurdity."
1070:
The plots of many absurdist plays feature characters in interdependent pairs, commonly either two males or a male and a female. Some
Beckett scholars call this the "pseudocouple". The two characters may be roughly equal or have a begrudging interdependence (like Vladimir and Estragon in
572:, Beckett's work focuses, "on poverty, failure, exile and loss â as he put it, on man as a 'non-knower' and as a 'non-can-er' ." Beckett's own relationship with Sartre was complicated by a mistake made in the publication of one of his stories in Sartre's journal
3586:. London: Associated University Presses, 1979. pp. 36â39. Cahn asserts that though Stoppard began writing in the absurdist mode, in his increasing focus on order, optimism, and the redemptive power of art, Stoppard has moved "beyond" absurdism, as the title implies.
1057:, Berenger remains the only human on Earth who has not turned into a rhinoceros and must decide whether or not to conform. Characters may find themselves trapped in a routine, or in a metafictional conceit, trapped in a story; the title characters in Stoppard's
313:
As an experimental form of theatre, many theatre of the absurd playwrights employ techniques borrowed from earlier innovators. Writers and techniques frequently mentioned in relation to the theatre of the absurd include the 19th-century nonsense poets, such as
1007:("out of harmony" in the musical sense) and drama's understanding of the absurd: "Absurd is that which is devoid of purpose... Cut off from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless."
88:
and express what happens when human existence lacks meaning or purpose and communication breaks down. The structure of the plays is typically a round shape, with the finishing point the same as the starting point. Logical construction and argument give way to
143:, mixed with horrific or tragic images; characters caught in hopeless situations forced to do repetitive or meaningless actions; dialogue full of clichés, wordplay, and nonsense; plots that are cyclical or absurdly expansive; either a parody or dismissal of
1033:
The more complex characters are in crisis because the world around them is incomprehensible. Many of Pinter's plays, for example, feature characters trapped in an enclosed space menaced by some force the character cannot understand. Pinter's first play was
1273:
is centered around the absence of a man named Godot, for whom the characters perpetually wait. In many of Beckett's later plays, most features are stripped away and what's left is a minimalistic tableau: a woman walking slowly back and forth in
1206:
Professor: ⊠In Spanish: the roses of my grandmother are as yellow as my grandfather who is Asiatic; in Latin: the roses of my grandmother are as yellow as my grandfather who is Asiatic. Do you detect the difference? Translate this into âŠ
446:) was inspirational to many later absurdists, some of whom joined the CollĂšge de 'pataphysique, founded in honor of Jarry in 1948 (Ionesco, Arrabal, and Vian were given the title "transcendent satrape of the CollĂšge de 'pataphysique"). The
132:
The absurd in these plays takes the form of man's reaction to a world apparently without meaning, or man as a puppet controlled or menaced by invisible outside forces. This style of writing was first popularized by the EugĂšne Ionesco play
1337:
begins where the play ended â at the beginning of the play, Clov says, "Finished, it's finished, nearly finished, it must be nearly finished" â and themes of cycle, routine, and repetition are explored throughout.
121:. Esslin says that their plays have a common denominatorâthe "absurd", a word that Esslin defines with a quotation from Ionesco: "absurd is that which has no purpose, or goal, or objective." The French philosopher
1197:
As in the above examples, nonsense in absurdist theatre may be also used to demonstrate the limits of language while questioning or parodying the determinism of science and the knowability of truth. In Ionesco's
1108:
the absurd distinctive. Language frequently gains a certain phonetic, rhythmical, almost musical quality, opening up a wide range of often comedic playfulness. Tardieu, for example, in the series of short pieces
527:, and many of the absurdists had a complicated relationship with him. Sartre praised Genet's plays, stating that for Genet, "Good is only an illusion. Evil is a Nothingness which arises upon the ruins of Good".
500:
in ZĂŒrich). Many of the absurdists had direct connections with the Dadaists and surrealists. Ionesco, Adamov, and Arrabal for example, were friends with surrealists still living in Paris at the time including
1116:, for example, was inspired by a language book in which characters would exchange empty clichés that never ultimately amounted to true communication or true connection. Likewise, the characters in
478:) was a particularly important philosophical treatise. Artaud claimed theatre's reliance on literature was inadequate and that the true power of theatre was in its visceral impact. Artaud was a
1298:
Like Pirandello, many absurdists use meta-theatrical techniques to explore role fulfillment, fate, and the theatricality of theatre. This is true for many of Genet's plays: for example, in
1269:, an old couple welcomes a large number of guests to their home, but these guests are invisible, so all we see are empty chairs, a representation of their absence. Likewise, the action of
568:
of man to overcome "absurdity" - or the repetition of life even though the end result will be the same no matter what and everything is essentially pointless - as James Knowlson says in
536:
as a criticism of blind conformity, whether it be to Nazism or communism; at the end of the play, one man remains on Earth resisting transformation into a rhinoceros. Sartre criticized
1234:, for example, Goldberg and McCann confront Stanley, torture him with absurd questions, and drag him off at the end, but it is never revealed why. In later Pinter plays, such as
442:
1248:: Harry and Edna take refuge at the home of their friends, Agnes and Tobias, because they suddenly become frightened. They have difficulty explaining what has frightened them:
1112:
arranged the language as one arranges music. Distinctively absurdist language ranges from meaningless clichés to vaudeville-style word play to meaningless nonsense.
3149:
2991:
1213:
Professor: But "roses", what else? ⊠"roses" is a translation in Oriental of the French word "roses", in Spanish "roses", do you get it? In Sardanapali, "roses"...
163:
of despair. It is a challenge to accept the human condition as it is, in all its mystery and absurdity, and to bear it with dignity, nobly, responsibly; precisely
1291:
1306:
brothel patrons take on elevated positions in role-playing games, but the line between theatre and reality starts to blur. Another complex example of this is
1222:
Traditional plot structures are rarely a consideration in the theatre of the absurd. Plots can consist of the absurd repetition of cliché and routine, as in
616:., were born in France. Many other absurdists were born elsewhere but lived in France, writing often in French: Beckett from Ireland; Ionesco from Romania;
521:, the philosophical spokesman for existentialism in Paris, but few absurdists actually committed to Sartre's own existentialist philosophy, as expressed in
922:
The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade
530:
Ionesco, however, hated Sartre bitterly. Ionesco accused Sartre of supporting communism but ignoring the atrocities committed by communists; he wrote
275:
Though layered with a significant amount of tragedy, theatre of the absurd echoes other great forms of comedic performance, according to Esslin, from
1289:
The plot may also revolve around an unexplained metamorphosis, a supernatural change, or a shift in the laws of physics. For example, in Ionesco's
5419:
139:(1950). Although the term is applied to a wide range of plays, some characteristics coincide in many of the plays: broad comedy, often similar to
1242:, the menace is no longer entering from the outside but exists within the confined space. Other absurdists use this kind of plot, as in Albee's
1258:
Harry: We were scared. It was like being lost: very young again, with the dark, and lost. There was no ⊠thing ⊠to be ⊠frightened of, but âŠ
1157:
unknown but time will tell and suffers like the divine Miranda with those who for reasons unknown but time will tell are plunged in torment...
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1038:â in which the main character, Rose, is menaced by Riley who invades her safe space though the actual source of menace remains a mystery. In
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Adamov, Jacqueline, "Censure et reprĂ©sentation dans le thĂ©Ăątre dâArthur Adamov", in P. Vernois (Textes recueillis et prĂ©sentĂ©s par),
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as an influence on this aspect of the "absurd drama". Shakespeare's influence is acknowledged directly in the titles of Ionesco's
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that science and logic have abandoned. Ionesco's recurring character Berenger, for example, faces a killer without motivation in
2083:""Mateus e Mateusa" de Qorpo Santo: desconhecido do grande pĂșblico, escritor brasileiro Ă© um dos pioneiros do Teatro do Absurdo"
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509:, the founder of surrealism, and Beckett translated many surrealist poems by Breton and others from French into English.
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Absence, emptiness, nothingness, and unresolved mysteries are central features in many absurdist plots: for example, in
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30:
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in the late 1950s. It is also a term for the style of theatre the plays represent. The plays focus largely on ideas of
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1452:. By Ionesco, Eugene; Adamov, Arthur; Arrabal, Fernando; Albee, Edward. Harmondsworth: Penguin Book Ltd. p. 23.
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when Pozzo says Lucky is demonstrating a talent for "thinking" as other characters comically attempt to stop him:
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In the 1860s, a gaucho author established himself as a precursor of the theater of the absurd in Brazilian lands.
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1529:, 3rd ed. (New York: Vintage , 2004). (Subsequent references to this ed. appear within parentheses in the text.)
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1513:(Garden City, NY: Doubleday, 1961). (Subsequent references to this ed. appear within parentheses in the text.)
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coined the term in his 1960 essay "The Theatre of the Absurd", which begins by focusing on the playwrights
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1081:); one character may be clearly dominant and may torture the passive character (like Pozzo and Lucky in
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395:, and a flexible sense of the limits of stage and illusionâto examine a highly-theatricalized vision of
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877:) was published that year but was first performed at the Théatre de LutÚce in Paris on 28 October 1959.
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In comparison to Sartre's concepts of the function of literature, Beckett's primary focus was on the
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Myers, Robert; Saab, Nada (2014-12-16). "Revolutionary Theatre of the Absurd from the Arab World".
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256:, "Nothing is funnier than unhappiness ⊠it's the most comical thing in the world". Esslin cites
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482:, and many other members of the surrealist group were significant influences on the absurdists.
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France and the Americas: culture, politics, and history : a multidisciplinary encycopledia
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363:. Pirandello was a highly regarded theatrical experimentalist who wanted to bring down the
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Zhu, Jiang. "Analysis on the Artistic Features and Themes of the Theater of the Absurd".
1053:, and Berenger's logical arguments fail to convince the killer that killing is wrong. In
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The Grove companion to Samuel Beckett: a reader's guide to his works, life, and thought
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1202:, a professor tries to force a pupil to understand his nonsensical philology lesson:
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have also been labeled absurdists. Other international absurdist playwrights include
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Davies: But it'd be a matter ⊠wouldn't it ⊠it'd be a matter of a broom ⊠isn't it?
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when Goldberg and McCann torture Stanley with apparently nonsensical questions and
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Reassessing the Theatre of the Absurd: Camus, Beckett, Ionesco, Genet, and Pinter.
1314:; these characters, in turn, have various encounters with the players who perform
1133:
Davies: That's it ⊠that's what I'm getting at is ⊠I mean, what sort of jobs ⊠(
975:âwas first performed at the Avignon Festival on July 21, 1982. The film version (
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Endgame: a play in one act, followed by Act without words, a mime for one player
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Empty figure on an empty stage: the theatre of Samuel Beckett and his generation
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Endgame: a play in one act, followed by Act without words, a mime for one player
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was first performed at the Cherry Lane Theatre in New York on 17 September 1961.
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924:) was first performed in West Berlin in 1964 and in New York City a year later.
209:. Other writers associated with this group by Esslin and other critics include
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2106:. Tr. Mary Caroline Richards. New York: Grove Weidenfeld, 1958., pp. 15â133.
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Annette J. Saddik. Ed. "Experimental Innovations After the Second World War".
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The language of silence: on the unspoken and the unspeakable in modern drama
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The "absurd" or "new theater" movement was originally a Paris-based (and a
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The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate
3218:
2881:
The Rites of Passage of Jean Genet: The Art and Aesthetics of Risk Taking
2537:
The history of world theater: from the English restoration to the present
1604:
The history of world theater: from the English restoration to the present
827:
was presented at the Drama Studio at the University of Bristol. Pinter's
588:
to be "too philosophical" and he considered himself "not a philosopher".
4591:
561:
reality that is conveyed through the apparent dislocation of language."
458:, housed several absurdist plays, including ones by Ionesco and Adamov.
168:
Absurd does not provoke tears of despair but the laughter of liberation.
6172:
5956:
5115:
4889:
4791:
4699:
4677:
4531:
Haney, W.S., II. "Beckett Out of His Mind: The Theatre of the Absurd".
1392:
1368:
489:
262:
94:
1913:
Allan Lewis. "The Theatre of the 'Absurd' â Beckett, Ionesco, Genet".
1230:. Often there is a menacing outside force that remains a mystery; in
948:
6100:
5787:
5782:
5777:
5762:
5757:
5512:
5477:
5428:
5332:
5278:
4919:
4914:
4801:
4667:
4415:. Actes du colloque de Strasbourg, Paris, Editions Klincksieck, 1974.
1063:
3164:
Marat/Sade; The investigation; and The shadow of the coachman's body
2621:
The Oxford English Literary History: 1960â2000: The Last of England?
2169:
The roots of theatre: rethinking ritual and other theories of origin
1384:
851:
by Beckett was first performed at the Royal Court Theatre in London.
4461:
The Cambridge Introduction to Theatre and Literature of the Absurd.
2443:. Trans. Jan Dawson. Holt, Rinehard and Winston, 1971. pp. 122â123.
1140:
Aston: Well, there's things like the stairs ⊠and the ⊠the bells âŠ
842:
premiered in West Berlin at the Schiller Theater Werkstatt in 1959.
6162:
6023:
5492:
5467:
4307:
A stylistics of drama: with special focus on Stoppard's Travesties
29:
1915:
The Contemporary Theatre: The Significant Playwrights of Our Time
600:) avant-garde phenomenon tied to extremely small theatres in the
436:â"the science of imaginary solutions"âfirst presented in Jarry's
189:
Esslin presents the four defining playwrights of the movement as
5497:
5268:
4939:
1193:
Goldberg: Speak up Webber. Why did the chicken cross the road?
5401:
4595:
1326:, James Joyce and Tristan Tzara slip in and out of the plot of
432:
plays scandalized Paris in the 1890s. Likewise, the concept of
5522:
4490:
Beckett's Dantes: Intertextuality in the Fiction and Criticism
4413:
LâOnirisme et lâinsolite dans le thĂ©Ăątre français contemporain
1824:
The major plays of Nikolai Erdman: The warrant and The suicide
3729:
Verbal Violence in Contemporary Drama: From Handke to Shepard
902:
also premiered in New York the following year, on October 13.
129:", describes the human situation as meaningless and absurd.
4575:
Mommy's American Dream in Edward Albee's the American Dream
2847:
205:, and in subsequent editions he added a fifth playwright,
5397:
2382:. Tr. Jean Stewart. London: Faber and Faber, 1968. p. 78.
1857:
The dark comedy: the development of modern comic tragedy.
963:âdedicated to then-imprisoned Czech dissident playwright
721:
from Bulgaria; and playwright and former Czech president
488:
is also frequently compared to surrealism's predecessor,
4042:
The dramatic world of Harold Pinter: its basis in ritual
3453:
The dramatic world of Harold Pinter: its basis in ritual
3051:
The Paris jigsaw: internationalism and the city's stages
1540:
The plays of Tom Stoppard: for stage, radio, TV and film
911:
premiered in London in June 1965 at the Aldwych Theatre.
299:
as direct influences. (Keaton even starred in Beckett's
1286:
only a junk heap on stage and the sounds of breathing.
4541:, numéro spécial "Arthur Adamov", août-septembre 1973.
3258:
Beyond Minimalism: Beckett's Late Style in the Theater
1680:
1678:
884:
which premiered in Paris in January 1960 at the Odeon.
541:
without recommending a solution. In a 1966 interview,
438:
Gestes et opinions du docteur Faustroll, pataphysicien
3385:"Open access journal for Film and Television Studies"
584:, he generally found the writing style of Sartre and
443:
Exploits and Opinions of Dr. Faustroll, pataphysician
1161:
Nonsense may also be used abusively, as in Pinter's
1030:, or flat character types as in Commedia dell'arte.
93:
and illogical speech and to the ultimate conclusionâ
6128:
6036:
5942:
5807:
5725:
5689:
5682:
5673:
5576:
5545:
5536:
5435:
5256:
5178:
5017:
4957:
4948:
4830:
4630:
4182:Morris Beja, S. E. Gontarski, Pierre A. G. Astier.
4163:
Ghosts: death's double and the phenomena of theatre
4012:
Beckett's theaters: interpretations for performance
3513:. University of California Press, 1966. pp. 96â102.
1252:
Harry: There was nothing ⊠but we were very scared.
931:
premiered at the Edinburgh Festival Fringe in 1966.
283:. Similarly, Esslin cites early film comedians and
3718:. University of California Press, 2003. pp.155â156
3166:. Continuum International Publishing Group, 1998.
3018:Edward Albee: a research and production sourcebook
2539:. Continuum International Publishing Group, 1999.
1633:Edward Albee: a research and production sourcebook
1606:. Continuum International Publishing Group, 1999.
1431:"THE THEATRE OF THE ABSURD: THE WEST AND THE EAST"
2579:The Cambridge companion to modern Spanish culture
2035:Georges Perec: a life in words : a biography
1744:Friedrich DĂŒrrenmatt. "Problems of the Theatre".
1261:Edna: We were frightened ⊠and there was nothing.
1210:Pupil: The ⊠how do you say "roses" in Romanian?
1181:Goldberg: You verminate the sheet of your birth.
1067:) in which the outcome has already been written.
4071:Harold Pinter and the language of cultural power
3920:Harold Pinter and the language of cultural power
2828:The Portuguese nun: formation of a national myth
2756:World and Its Peoples: Eastern and Southern Asia
1931:Madness, Masks, and Laughter: An Essay on Comedy
1190:Mccann: What about the blessed Oliver Plunkett?
517:Many of the absurdists were contemporaries with
3511:Avant-garde: the experimental theater in France
2860:Eastern European Theater After the Iron Curtain
2531:
2529:
1187:Goldberg: Who watered the wicket in Melbourne?
4336:Myth and ritual in the plays of Samuel Beckett
2527:
2525:
2523:
2521:
2519:
2517:
2515:
2513:
2511:
2509:
2393:Ionesco's imperatives: the politics of culture
1521:
1519:
1505:
1503:
1501:
757:) was first performed on May 11, 1950, at the
5413:
4607:
4463:Cambridge: Cambridge University Press, 2015.
3634:
3632:
3630:
3438:
3436:
2211:Present past, past present: a personal memoir
1310:: it is a play about two minor characters in
1302:, two maids pretend to be their mistress; in
1184:Mccann: What about the Albigensenist heresy?
1026:"). Characters are frequently stereotypical,
818:) was produced in London at the Arts Theatre.
786:was first performed on 5 January 1953 at the
717:from Portugal; Mikhail Volokhov from Russia;
8:
3901:. New York: Chelsea House Publishers, 1987.
3565:
3563:
3561:
2750:
2748:
2709:Gaetana Marrone, Paolo Puppa, Luca Somigli.
2148:Theatre on the edge: new visions, new voices
1851:
1849:
1595:
1593:
1333:Plots are frequently cyclical: for example,
3646:
3644:
3584:Beyond Absurdity: The Plays of Tom Stoppard
3148:: CS1 maint: numeric names: authors list (
2990:: CS1 maint: numeric names: authors list (
2493:New tragedy and comedy in France, 1945â1970
1909:
1907:
1905:
1903:
1569:DĂŒrrenmatt, Friedrich: Friedrich DĂŒrrenmatt
1061:, for example, find themselves in a story (
5686:
5679:
5542:
5420:
5406:
5398:
4954:
4614:
4600:
4592:
4404:Ackerley, C. J. and S. E. Gontarski, ed.
3999:Encyclopedia of Literature & Criticism
3874:The Birthday Party and The Room: Two Plays
2535:Felicia Hardison Londré, Margot Berthold.
2292:Damned to Fame: The Life of Samuel Beckett
2000:
1998:
1925:
1923:
880:1959 also saw the completion of Ionesco's
80:written by a number of primarily European
39:, a herald for the Theatre of the Absurd.
4586:Theory & Practice in Language Studies
4418:Baker, William, and John C. Ross, comp.
3045:
3043:
2600:The Columbia encyclopedia of modern drama
4426:and New Castle, DE: Oak Knoll P, 2005.
4420:Harold Pinter: A Bibliographical History
4338:. Fairleigh Dickinson Univ Press, 1987.
4286:Metafictional Characters in Modern Drama
4121:A delicate balance: a play in three acts
3654:. Fairleigh Dickinson Univ Press, 1984.
3524:Bloom's Major Dramatists: EugĂšne Ionesco
3112:The Cambridge companion to Harold Pinter
2883:. Fairleigh Dickinson Univ Press, 1992.
2711:Encyclopedia of Italian literary studies
1975:. Fairleigh Dickinson Univ Press, 2005.
1933:. Fairleigh Dickinson Univ Press, 1995.
1664:. Manchester University Press ND, 2006.
4100:The Cambridge Companion to Edward Albee
3671:Lisa M. Siefker Bailey, Bruce J. Mann.
3136:"www.haroldpinter.org - The Homecoming"
3012:
3010:
2294:. London. Bloomsbury Publishing, 1997.
2190:Twentieth-century theatre: a sourcebook
2081:Frederico, Manoel (29 September 2019).
1433:. University of Glasgow. Archived from
1347:
1175:Goldberg: What do you use for pajamas?
1130:Aston: More or less exactly what you...
1079:Rosencrantz & Guildenstern Are Dead
1059:Rosencrantz & Guildenstern Are Dead
929:Rosencrantz & Guildenstern Are Dead
181:, Esslin quotes the French philosopher
4406:The Grove Companion to Samuel Beckett.
4228:. University of Michigan Press, 2001.
4207:. Univ of South Carolina Press, 1990.
4184:Samuel Beckettâhumanistic perspectives
3526:. 2003. Infobase Publishing. p106-110.
3141:
2983:
2800:. University of Michigan Press, 1996.
2734:. Univ of South Carolina Press, 1993.
2395:. University of Michigan Press, 1993.
1973:Alfred Jarry, an imagination in revolt
1805:Manchester University Press ND, 2006.
246:The mode of most "absurdist" plays is
4044:. Ohio State University Press, 1971.
3951:. Associated University Presse, 1986
3855:. Camberidge University Press, 2001.
3608:. Univ of South Carolina Press, 1990
3484:.Univ of South Carolina Press, 1998.
3207:PAJ: A Journal of Performance and Art
3053:. Manchester University Press, 2002.
2924:Samuel Beckett: The Critical Heritage
2598:Gabrielle H. Cody, Evert Sprinchorn.
1485:The Myth of Sisyphus and Other Essays
1448:Esslin, Martin (1965). Introduction.
1308:Rosencrantz and Guildenstern are Dead
360:Six Characters in Search of an Author
269:Rosencrantz and Guildenstern Are Dead
63:
7:
4449:New York: Palgrave Macmillan, 2011.
4383:. Cambridge University Press, 1989.
4186:.Ohio State University Press, 1983.
4102:. Cambridge University Press, 2005.
3899:Modern Critical Views: Harold Pinter
3731:. Cambridge University Press, 1992.
3697:. Univ. Press of Mississippi, 1988.
3539:. University of Georgia Press, 2008
3455:. Ohio State University Press, 1971
3422:. Cambridge University Press, 1991.
3260:. Oxford University Press US, 1990.
3187:. Cambridge University Press, 1989.
3114:. Cambridge University Press, 2001.
3020:. Greenwood Publishing Group, 2003.
2674:. Cambridge University Press, 2000.
2581:. Cambridge University Press, 1999.
1635:. Greenwood Publishing Group, 2003.
1571:.University of Chicago Press, 2006.
420:Pataphysics, surrealism, and Dadaism
4533:Studies in the Literary IMagination
4288:. Columbia University Press, 1979.
4014:. Bucknell University Press, 1984.
2922:Lawrence Graver, Raymond Federman.
2830:. Bucknell University Press, 2000.
2602:. Columbia University Press, 2007.
2332:Jean-Paul Sartre. "Introduction to
2315:.Cambridge University Press, 2003.
2037:. David R. Godine Publisher, 1993.
1880:.Edinburgh University Press, 2007.
1697:. Cambridge University Press, 1983
1695:Modern Drama in Theory and Practice
1357:, Millennium Edition, Helicon 1999.
604:. Some of the absurdists, such as
492:(for example, the Dadaist plays by
402:Another influential playwright was
4505:Samuel Beckett: The Last Modernist
4144:. Indiana University Press, 2001.
4073:. Bucknell University Press, 1993.
3922:. Bucknell University Press, 1993
3765:. Harvard University Press, 2001.
3482:Understanding Friedrich DĂŒrrenmatt
3399:Samuel Beckett: the last modernist
2779:. Lynne Rienner Publishers, 2003.
2619:Randall Stevenson, Jonathan Bate.
2556:Bill Marshall, Cristina Johnston.
2472:Samuel Beckett: the last modernist
2171:. University of Iowa Press, 2002.
1859:Cambridge University Press, 1968.
833:premiered in the West End in 1958.
25:
3277:Chris Ackerley, S. E. Gontarski.
2777:Tawfiq al-Hakim: a reader's guide
2623:. Oxford University Press, 2004.
2495:.Rowman & Littlefield, 1988.
2441:Conversations with EugĂšne Ionesco
2150:. Hal Leonard Corporation, 1998.
2004:Raymond Queneau, Marc Lowenthal.
412:was the first work to be called "
6277:
6268:
6267:
3978:The Bald Soprano and Other Plays
3791:Guido Almansi, Simon Henderson.
3049:David Bradby, Maria M. Delgado.
2904:. Twayne Publishers, 1972. p. 33
2672:Modern American drama, 1945â2000
1952:The French theater of the absurd
1917:. Crown Publishers, 1966. p. 260
578:. Beckett said, though he liked
513:Relationship with existentialism
383:and other Pirandello plays use "
353:One commonly cited precursor is
154:In his introduction to the book
27:Theatrical genre since the 1950s
4305:Peter K. W. Tan, Tom Stoppard.
3949:Drama, Metadrama and perception
3695:Conversations with Edward Albee
3693:Edward Albee, Philip C. Kolin.
1746:The Marriage of Mr. Mississippi
1328:The Importance of Being Earnest
1292:Amédée, or How to Get Rid of It
899:Who's Afraid of Virginia Woolf?
4514:. New York: Columbia UP, 1966.
4165:. U of Minnesota Press, 2006.
3420:Modern French Drama: 1940â1990
3397:Anthony Cronin, Isaac Cronin.
2978:"www.haroldpinter.org - Plays"
2470:Anthony Cronin, Isaac Cronin.
2271:Avant garde theatre, 1892â1992
1474:(paris: Gallimard, 1942), p.18
1318:, the play-within-the-play in
1077:or the two main characters in
944:) was first performed in 1966.
1:
4553:The Imagination of Jean Genet
4123:. Samuel French, Inc., 1994.
3675:. 2003. Routledge. pp. 33â44.
2858:Kalina Stefanova, Ann Waugh.
1651:. pp. 13, 17 29, 40, 55, 232.
1095:or in many of Albee's plays,
761:. Ionesco followed this with
4555:. New Haven: Yale UP, 1963.
4507:. New York: Da Capo P, 1997.
4256:The Makers of Modern Culture
4205:Understanding Samuel Beckett
3606:Understanding Samuel Beckett
2758:. Marshall Cavendish, 2007.
2412:"Beyond Bourgeois Theatre" 6
1255:Edna: We ⊠were ⊠terrified.
954:premiered in Beirut in 1969.
346:"; and the "dream plays" of
3595:Ackerley, pp. 334, 465, 508
3185:The theatre of Tom Stoppard
3162:Peter Weiss, Robert Cohen.
2008:.U of Nebraska Press, 2000
1954:. Twayne Publishers, 1991.
1878:Contemporary American Drama
1542:.Palgrave Macmillan, 2001.
1369:"The Theatre of the Absurd"
1355:The Hutchinson Encyclopedia
324:StanisĆaw Ignacy Witkiewicz
72:designation for particular
65:[teÉtÊ(É)dÉlapsyÊd]
6380:
5360:Situationist International
4548:. New York: Twayne, 1972.
4528:. New York: Twayne, 1996.
3853:Beckett, Waiting for Godot
2952:Ian Smith, Harold Pinter.
2359:Present Past, Past Present
2104:The Theatre and Its Double
967:, who became president of
821:That May, Harold Pinter's
6263:
4519:The theatre of the absurd
4001:. 1990. Routledge. p. 10.
3537:The Ghost on the Ramparts
2956:. Nick Hern Books, 2005.
2732:Understanding Peter Weiss
2338:The Maids; and Deathwatch
2334:The Maids; and Deathwatch
1803:The absurd in literature.
1527:The Theatre of the Absurd
1511:The Theatre of the Absurd
1408:The Theatre of the Absurd
985:and performed by Pinter,
942:Le CimetiĂšre des voitures
857:Picnic on the Battlefield
242:Elizabethan â tragicomedy
179:The Theatre of the Absurd
18:Théùtre de l'absurde
6319:Concepts in epistemology
4526:EugĂšne Ionesco Revisited
4524:Gaensbauer, Deborah B.
4521:. London: Pelican, 1980.
4408:New York: Grove P, 2004.
3673:Edward Albee: A Casebook
3365:Watt and Richardson 1154
3356:Ionesco in Esslin, p. 23
2250:Makers of modern culture
1662:The Absurd in Literature
981:, 2001) was directed by
715:José de Almada Negreiros
649:; in the United States,
177:In the first edition of
147:and the concept of the "
6364:Types of existentialism
6329:Existentialist concepts
6324:Concepts in metaphysics
5717:Theatre of ancient Rome
4870:Experimental literature
4098:Stephen James Bottoms.
3714:Leonard Cabell Pronko.
3509:Leonard Cabell Pronko.
3401:. Da Capo Press, 1999.
3083:Plunka, pp. 29, 30, 309
2653:. Da Capo Press, 1997.
2474:. Da Capo Press, 1999.
2361:. Da Capo Press, 1998.
2213:. Da Capo Press, 1998.
1950:Deborah B. Gaensbauer.
1600:Felicia Hardison Londré
1487:. Vintage (May 7, 1991)
1406:Esslin, Martin (1961).
1373:The Tulane Drama Review
1367:Esslin, Martin (1960).
862:Pique-nique en campagne
759:Théùtre des Noctambules
409:The Breasts of Tiresias
371:of playwrights such as
6314:Concepts in aesthetics
5136:Second Viennese School
4767:Neue Slowenische Kunst
4638:Abstract expressionism
4334:Katherine H. Burkman.
4040:Katherine H. Burkman.
3451:Katherine H. Burkman.
2380:Fragments of a Journal
2313:Beckett and aesthetics
1929:Rupert D. V. Glasgow.
1126:is typical of Pinter:
475:Theatre and its Double
309:Formal experimentation
170:
60:
48:
6344:Postmodern literature
6304:Theatre of the Absurd
5924:Theatre of the Absurd
5243:Theatre of the Absurd
5166:Twelve-tone technique
5045:Electroacoustic music
4477:. Touchstone, 1995.
3980:. Grove Press, 1982.
3876:. Grove Press, 1994.
3480:Roger Alan Crockett.
3281:. Grove Press, 2004.
2954:Pinter in the theatre
2775:William M. Hutchins.
2577:David Thatcher Gies.
2340:. Grove Press, 1962.
2006:Stories & remarks
1748:. Grove Press, 1964.
1718:. Grove Press, 1958.
1280:, for example, or in
949:Issam Mahfouz's play
845:On October 28, 1959,
687:Wolfgang Hildesheimer
524:Being and Nothingness
404:Guillaume Apollinaire
160:
158:(1965), Esslin wrote:
125:, in his 1942 essay "
53:theatre of the absurd
33:
5899:Shakespearean comedy
5697:Ancient Greek comedy
5228:Postdramatic theatre
5213:Experimental theatre
4750:Multidimensional art
4539:La Nouvelle Critique
4459:Bennett, Michael Y.
4445:Bennett, Michael Y.
4359:.Grove Press, 1958.
3727:Jeanette R. Malkin.
3219:10.1162/PAJJ_a_00249
2754:Marshall Cavendish.
2137:Esslin, pp. 372â375.
1085:or Hamm and Clov in
1040:Friedrich DĂŒrrenmatt
937:Automobile Graveyard
755:La Cantatrice Chauve
744:) premiered in 1947.
622:Alejandro Jodorowsky
448:Theatre Alfred Jarry
322:; Polish playwright
215:Friedrich DĂŒrrenmatt
61:théùtre de l'absurde
4730:Lyrical Abstraction
4562:. Oxford UP, 1977.
4551:McMahon, Joseph H.
4309:. NUS Press, 1993.
4258:. Routledge, 2002.
3997:Claude Schumacher.
3893:Raymond Williams. "
3795:. Routledge, 1983.
3763:The Death of Comedy
3535:Robert B. Heilman.
2943:Plunka, pp. 29, 309
2926:. Routledge, 1997.
2713:. CRC Press, 2006.
2391:Rosette C. Lamont.
2252:. Routledge, 2002.
2192:. Routledge, 1995.
1992:Esslin, pp. 346â348
1843:Esslin, pp. 365â368
1792:Esslin, pp. 382â385
1783:Esslin, pp. 330â331
1735:Esslin, pp. 321â323
1684:Esslin, pp. 323â324
1602:, Margot Berthold.
1472:Le Mythe de Sisyphe
1429:CulĂk, Jan (2000).
998:Theatrical features
864:) came out in 1958.
788:Théùtre de Babylone
695:Mohit Chattopadhyay
367:presupposed by the
342:techniques in his "
258:William Shakespeare
5887:Comédie larmoyante
5882:Sentimental comedy
5877:Restoration comedy
5840:Commedia dell'arte
5712:Corral de comedias
5343:Postmodernist film
5248:Theatre of Cruelty
5131:Rock in Opposition
5072:Free improvisation
4715:Post-Impressionism
4648:Art & Language
4488:Caselli, Daniela.
4069:Marc Silverstein.
4031:Kane, pp. 132, 134
3918:Marc Silverstein.
3897:: Harold Pinter".
3895:The Birthday Party
3016:Barbara Lee Horn.
2862:.Routledge, 2000.
2640:Stevenson, p. 358.
2560:. ABC-CLIO, 2005.
2273:.Routledge, 1993.
2128:Saddik, pp. 24â27.
1826:. Routledge, 1995.
1631:Barbara Lee Horn.
1245:A Delicate Balance
1232:The Birthday Party
1178:Stanley: Nothing.
1164:The Birthday Party
1110:Theatre de Chambre
830:The Birthday Party
681:; and in Germany,
575:Les Temps Modernes
470:Theatre of Cruelty
393:plays-within-plays
277:Commedia dell'arte
250:. As Nell says in
49:
41:Festival d'Avignon
6359:Theatrical genres
6339:Modernist theatre
6309:Absurdist fiction
6291:
6290:
6069:Musical comedians
6032:
6031:
5830:Comedy of manners
5825:Comedy of humours
5815:Boulevard theatre
5803:
5802:
5707:Comédie-Italienne
5702:Comédie-Française
5669:
5668:
5395:
5394:
5385:Russian symbolism
5370:Socialist realism
5208:Experimental film
5174:
5173:
4880:Hungry generation
4855:Conceptual poetry
4710:Neo-Impressionism
4558:Mercier, Vivian.
4510:Driver, Tom Faw.
4503:Cronin, Anthony.
4455:978-0-230-11338-1
4440:978-1-58456-156-9
4377:Andrew K. Kennedy
4323:978-9971-69-182-0
4234:978-0-472-11190-9
4087:978-0-8387-5236-4
4058:978-0-8142-0146-6
3965:978-0-8387-5101-5
3936:978-0-8387-5236-4
3622:978-0-87249-686-6
3553:978-0-8203-3265-9
3498:978-1-57003-213-4
3469:978-0-8142-0146-6
3320:Norrish, pp. 2â8.
3247:Knowlson, p. 741.
3183:Anthony Jenkins.
2798:Theater in Israel
2670:C. W. E. Bigsby.
2461:Knowlson, p. 325.
2439:Claude Bonnefoy.
2311:Daniel Albright.
2230:Lamont, pp. 41â42
2051:978-0-87923-980-0
2022:978-0-8032-8852-2
1754:978-0-394-17198-2
1649:978-0-313-31141-3
1620:978-0-8264-1167-9
1585:978-0-226-17426-6
1556:978-1-84046-241-8
1083:Waiting for Godot
1074:Waiting for Godot
973:Velvet Revolution
848:Krapp's Last Tape
808:In 1957, Genet's
783:Waiting for Godot
729:Major productions
699:Mahesh Elkunchwar
693:. In India, both
496:performed at the
348:August Strindberg
78:absurdist fiction
36:Waiting for Godot
16:(Redirected from
6371:
6354:Surrealist plays
6281:
6271:
6270:
6218:Self-referential
5835:Comedy of menace
5687:
5680:
5543:
5422:
5415:
5408:
5399:
5289:Russian Futurism
5233:Remodernist film
5151:Stochastic music
5106:Musique concrĂšte
5084:Microtonal music
5062:Experimental pop
5055:Industrial music
5050:Electronic music
4955:
4777:Nouveau réalisme
4685:Grosvenor School
4616:
4609:
4602:
4593:
4517:Esslin, Martin.
4392:
4374:
4368:
4355:Samuel Beckett.
4353:
4347:
4332:
4326:
4303:
4297:
4284:June Schlueter.
4282:
4276:
4273:
4267:
4252:
4246:
4243:
4237:
4222:
4216:
4201:
4195:
4180:
4174:
4159:
4153:
4138:
4132:
4117:
4111:
4096:
4090:
4067:
4061:
4038:
4032:
4029:
4023:
4008:
4002:
3995:
3989:
3976:EugĂšne Ionesco.
3974:
3968:
3947:Richard Hornby.
3945:
3939:
3916:
3910:
3891:
3885:
3870:
3864:
3849:
3843:
3828:
3822:
3819:
3813:
3812:Kane, pp. 17, 19
3810:
3804:
3789:
3783:
3780:
3774:
3759:
3753:
3746:
3740:
3725:
3719:
3712:
3706:
3691:
3685:
3682:
3676:
3669:
3663:
3648:
3639:
3636:
3625:
3602:
3596:
3593:
3587:
3582:Victor L. Cahn.
3580:
3574:
3567:
3556:
3533:
3527:
3520:
3514:
3507:
3501:
3478:
3472:
3449:
3443:
3440:
3431:
3416:
3410:
3395:
3389:
3388:
3381:
3375:
3372:
3366:
3363:
3357:
3354:
3348:
3345:
3339:
3336:
3330:
3327:
3321:
3318:
3312:
3309:
3303:
3296:
3290:
3275:
3269:
3254:
3248:
3245:
3239:
3238:
3202:
3196:
3181:
3175:
3160:
3154:
3153:
3147:
3139:
3129:
3123:
3108:
3102:
3101:Graver, p. xviii
3099:
3093:
3090:
3084:
3081:
3075:
3068:
3062:
3047:
3038:
3035:
3029:
3014:
3005:
3004:Smith, pp. 28â29
3002:
2996:
2995:
2989:
2981:
2971:
2965:
2950:
2944:
2941:
2935:
2920:
2914:
2911:
2905:
2898:
2892:
2879:Gene A. Plunka.
2877:
2871:
2856:
2850:
2848:Mikhail Volokhov
2845:
2839:
2824:
2818:
2815:
2809:
2794:
2788:
2773:
2767:
2752:
2743:
2728:
2722:
2707:
2701:
2698:
2692:
2689:
2683:
2668:
2662:
2647:
2641:
2638:
2632:
2617:
2611:
2596:
2590:
2575:
2569:
2554:
2548:
2533:
2504:
2489:
2483:
2468:
2462:
2459:
2453:
2452:Knowlson, p. 319
2450:
2444:
2437:
2431:
2428:
2422:
2419:
2413:
2410:
2404:
2389:
2383:
2378:EugĂšne Ionesco.
2376:
2370:
2357:EugĂšne Ionesco.
2355:
2349:
2330:
2324:
2309:
2303:
2290:James Knowlson.
2288:
2282:
2267:
2261:
2246:
2240:
2237:
2231:
2228:
2222:
2209:EugĂšne Ionesco.
2207:
2201:
2186:
2180:
2165:
2159:
2144:
2138:
2135:
2129:
2126:
2120:
2113:
2107:
2100:
2094:
2093:
2091:
2089:
2078:
2072:
2069:
2063:
2060:
2054:
2031:
2025:
2002:
1993:
1990:
1984:
1969:
1963:
1948:
1942:
1927:
1918:
1911:
1898:
1895:
1889:
1874:
1868:
1853:
1844:
1841:
1835:
1820:
1814:
1799:
1793:
1790:
1784:
1781:
1775:
1772:
1766:
1763:
1757:
1742:
1736:
1733:
1727:
1714:Samuel Beckett.
1712:
1706:
1691:
1685:
1682:
1673:
1658:
1652:
1629:
1623:
1597:
1588:
1565:
1559:
1536:
1530:
1523:
1514:
1507:
1496:
1481:
1475:
1468:
1462:
1461:
1445:
1439:
1438:
1426:
1420:
1419:
1403:
1397:
1396:
1364:
1358:
1352:
1322:. In Stoppard's
1228:The Bald Soprano
1118:The Bald Soprano
1114:The Bald Soprano
987:Sir John Gielgud
947:Lebanese author
804:
750:The Bald Soprano
719:Yordan Radichkov
667:Tadeusz RĂłĆŒewicz
626:Fernando Arrabal
555:
519:Jean-Paul Sartre
498:Cabaret Voltaire
472:" (presented in
355:Luigi Pirandello
287:artists such as
219:Fernando Arrabal
136:The Bald Soprano
127:Myth of Sisyphus
67:
21:
6379:
6378:
6374:
6373:
6372:
6370:
6369:
6368:
6294:
6293:
6292:
6287:
6259:
6124:
6106:Animated sitcom
6028:
5994:Musical theatre
5944:
5938:
5914:Stand-up comedy
5860:One-person show
5850:Improvisational
5799:
5721:
5665:
5619:Science fiction
5572:
5532:
5453:Comedy festival
5431:
5426:
5396:
5391:
5252:
5238:Structural film
5180:
5170:
5025:Aleatoric music
5013:
4944:
4832:
4826:
4787:Performance art
4626:
4620:
4560:Beckett/Beckett
4544:Lewis, Allan.
4424:British Library
4401:
4399:Further reading
4396:
4395:
4375:
4371:
4354:
4350:
4333:
4329:
4304:
4300:
4283:
4279:
4275:Pronko, p. 157.
4274:
4270:
4254:Justin Wintle.
4253:
4249:
4244:
4240:
4226:A Beckett Canon
4223:
4219:
4202:
4198:
4181:
4177:
4160:
4156:
4139:
4135:
4118:
4114:
4097:
4093:
4068:
4064:
4039:
4035:
4030:
4026:
4009:
4005:
3996:
3992:
3975:
3971:
3946:
3942:
3917:
3913:
3892:
3888:
3872:Harold Pinter.
3871:
3867:
3850:
3846:
3830:Harold Pinter.
3829:
3825:
3820:
3816:
3811:
3807:
3790:
3786:
3781:
3777:
3760:
3756:
3747:
3743:
3726:
3722:
3713:
3709:
3692:
3688:
3683:
3679:
3670:
3666:
3649:
3642:
3638:Hinden, p. 401.
3637:
3628:
3603:
3599:
3594:
3590:
3581:
3577:
3568:
3559:
3534:
3530:
3521:
3517:
3508:
3504:
3479:
3475:
3450:
3446:
3441:
3434:
3417:
3413:
3396:
3392:
3383:
3382:
3378:
3373:
3369:
3364:
3360:
3355:
3351:
3346:
3342:
3337:
3333:
3328:
3324:
3319:
3315:
3310:
3306:
3297:
3293:
3276:
3272:
3255:
3251:
3246:
3242:
3204:
3203:
3199:
3182:
3178:
3161:
3157:
3140:
3131:
3130:
3126:
3109:
3105:
3100:
3096:
3091:
3087:
3082:
3078:
3069:
3065:
3048:
3041:
3036:
3032:
3015:
3008:
3003:
2999:
2982:
2973:
2972:
2968:
2951:
2947:
2942:
2938:
2921:
2917:
2912:
2908:
2899:
2895:
2878:
2874:
2857:
2853:
2846:
2842:
2826:Anna Klobucka.
2825:
2821:
2816:
2812:
2796:Linda Ben-Zvi.
2795:
2791:
2774:
2770:
2753:
2746:
2729:
2725:
2708:
2704:
2699:
2695:
2691:Bigsby, p. 385.
2690:
2686:
2669:
2665:
2661:. pp. 123, 132.
2648:
2644:
2639:
2635:
2618:
2614:
2597:
2593:
2576:
2572:
2555:
2551:
2534:
2507:
2491:Peter Norrish.
2490:
2486:
2469:
2465:
2460:
2456:
2451:
2447:
2438:
2434:
2429:
2425:
2420:
2416:
2411:
2407:
2390:
2386:
2377:
2373:
2356:
2352:
2331:
2327:
2310:
2306:
2289:
2285:
2268:
2264:
2248:Justin Wintle.
2247:
2243:
2238:
2234:
2229:
2225:
2208:
2204:
2188:Richard Drain.
2187:
2183:
2166:
2162:
2145:
2141:
2136:
2132:
2127:
2123:
2114:
2110:
2102:Antonin Artaud
2101:
2097:
2087:
2085:
2080:
2079:
2075:
2071:Cornwell, p.170
2070:
2066:
2062:Esslin, p. 373.
2061:
2057:
2032:
2028:
2003:
1996:
1991:
1987:
1970:
1966:
1949:
1945:
1928:
1921:
1912:
1901:
1897:Worthen, p. 702
1896:
1892:
1875:
1871:
1854:
1847:
1842:
1838:
1822:John Freedman.
1821:
1817:
1801:Neil Cornwell.
1800:
1796:
1791:
1787:
1782:
1778:
1773:
1769:
1764:
1760:
1743:
1739:
1734:
1730:
1713:
1709:
1692:
1688:
1683:
1676:
1660:Neil Cornwell.
1659:
1655:
1630:
1626:
1598:
1591:
1566:
1562:
1538:Terry Hodgson.
1537:
1533:
1525:Martin Esslin,
1524:
1517:
1509:Martin Esslin,
1508:
1499:
1483:Camus, Albert.
1482:
1478:
1470:Camus, Albert.
1469:
1465:
1447:
1446:
1442:
1428:
1427:
1423:
1405:
1404:
1400:
1385:10.2307/1124873
1366:
1365:
1361:
1353:
1349:
1344:
1220:
1148:long speech in
1105:
1024:ĂŒbermarionettes
1013:
1000:
991:Rebecca Pidgeon
978:Beckett on Film
971:after the 1989
790:
731:
703:Tawfiq el-Hakim
671:SĆawomir MroĆŒek
624:from Chile and
594:
545:
543:Claude Bonnefoy
515:
424:A precursor is
422:
375:. According to
326:; the Russians
311:
289:Charlie Chaplin
266:and Stoppard's
244:
239:
175:
103:
28:
23:
22:
15:
12:
11:
5:
6377:
6375:
6367:
6366:
6361:
6356:
6351:
6346:
6341:
6336:
6331:
6326:
6321:
6316:
6311:
6306:
6296:
6295:
6289:
6288:
6286:
6285:
6275:
6264:
6261:
6260:
6258:
6257:
6252:
6247:
6242:
6241:
6240:
6230:
6225:
6220:
6215:
6210:
6205:
6200:
6195:
6190:
6181:
6176:
6170:
6165:
6160:
6155:
6150:
6145:
6140:
6134:
6132:
6126:
6125:
6123:
6122:
6121:
6120:
6119:
6118:
6113:
6108:
6098:
6093:
6083:
6078:
6073:
6072:
6071:
6066:
6061:
6056:
6051:
6040:
6038:
6034:
6033:
6030:
6029:
6027:
6026:
6021:
6016:
6011:
6006:
6001:
5996:
5991:
5986:
5981:
5976:
5974:Comédie-ballet
5971:
5970:
5969:
5964:
5954:
5948:
5946:
5940:
5939:
5937:
5936:
5931:
5926:
5921:
5919:Street theatre
5916:
5911:
5906:
5901:
5896:
5891:
5890:
5889:
5879:
5874:
5873:
5872:
5862:
5857:
5852:
5847:
5842:
5837:
5832:
5827:
5822:
5817:
5811:
5809:
5805:
5804:
5801:
5800:
5798:
5797:
5796:
5795:
5790:
5785:
5780:
5775:
5767:
5766:
5765:
5760:
5752:
5751:
5750:
5742:
5741:
5740:
5729:
5727:
5723:
5722:
5720:
5719:
5714:
5709:
5704:
5699:
5693:
5691:
5684:
5677:
5671:
5670:
5667:
5666:
5664:
5663:
5658:
5653:
5648:
5643:
5642:
5641:
5636:
5626:
5621:
5616:
5611:
5606:
5601:
5596:
5591:
5586:
5580:
5578:
5574:
5573:
5571:
5570:
5565:
5560:
5555:
5549:
5547:
5540:
5534:
5533:
5531:
5530:
5525:
5520:
5515:
5510:
5505:
5500:
5495:
5490:
5485:
5480:
5475:
5470:
5465:
5460:
5455:
5450:
5448:Comedic device
5445:
5439:
5437:
5433:
5432:
5427:
5425:
5424:
5417:
5410:
5402:
5393:
5392:
5390:
5389:
5388:
5387:
5377:
5372:
5367:
5365:Social realism
5362:
5357:
5352:
5350:Late modernism
5347:
5346:
5345:
5335:
5330:
5325:
5323:Neo-minimalism
5320:
5318:Postminimalism
5315:
5310:
5305:
5300:
5299:
5298:
5297:
5296:
5281:
5276:
5271:
5266:
5264:Constructivism
5260:
5258:
5254:
5253:
5251:
5250:
5245:
5240:
5235:
5230:
5225:
5223:Poetic realism
5220:
5218:Modernist film
5215:
5210:
5205:
5200:
5195:
5190:
5184:
5182:
5176:
5175:
5172:
5171:
5169:
5168:
5163:
5158:
5156:Textural music
5153:
5148:
5146:Spectral music
5143:
5138:
5133:
5128:
5123:
5118:
5113:
5111:New Complexity
5108:
5103:
5098:
5097:
5096:
5086:
5081:
5076:
5075:
5074:
5064:
5059:
5058:
5057:
5047:
5042:
5037:
5032:
5027:
5021:
5019:
5015:
5014:
5012:
5011:
5010:
5009:
5004:
4999:
4989:
4984:
4983:
4982:
4977:
4967:
4961:
4959:
4952:
4946:
4945:
4943:
4942:
4937:
4932:
4927:
4922:
4917:
4912:
4907:
4902:
4900:Neoavanguardia
4897:
4895:Language poets
4892:
4887:
4882:
4877:
4872:
4867:
4862:
4857:
4852:
4850:Asemic writing
4847:
4845:Angry Penguins
4842:
4836:
4834:
4828:
4827:
4825:
4824:
4819:
4814:
4809:
4804:
4799:
4794:
4789:
4784:
4779:
4774:
4769:
4764:
4763:
4762:
4752:
4747:
4742:
4737:
4732:
4727:
4722:
4717:
4712:
4707:
4702:
4697:
4692:
4687:
4682:
4681:
4680:
4670:
4665:
4660:
4658:Constructivism
4655:
4653:Conceptual art
4650:
4645:
4640:
4634:
4632:
4628:
4627:
4621:
4619:
4618:
4611:
4604:
4596:
4590:
4589:
4582:
4579:The Explicator
4573:Youngberg, Q.
4571:
4556:
4549:
4542:
4536:
4535:. Vol. 34 (2).
4529:
4522:
4515:
4508:
4501:
4486:
4473:Brook, Peter.
4471:
4469:978-1107635517
4457:
4443:
4422:. London: The
4416:
4409:
4400:
4397:
4394:
4393:
4381:Samuel Beckett
4369:
4348:
4327:
4298:
4277:
4268:
4247:
4245:Lamont, p. 101
4238:
4217:
4196:
4175:
4161:Alice Rayner.
4154:
4133:
4119:Edward Albee.
4112:
4091:
4062:
4033:
4024:
4010:Sydney Homan.
4003:
3990:
3969:
3940:
3911:
3886:
3865:
3851:David Bradby.
3844:
3823:
3814:
3805:
3784:
3775:
3754:
3741:
3720:
3707:
3686:
3677:
3664:
3640:
3626:
3597:
3588:
3575:
3557:
3555:. pp. 170â171.
3528:
3522:Harold Bloom.
3515:
3502:
3473:
3444:
3442:Esslin, p. 402
3432:
3411:
3390:
3376:
3367:
3358:
3349:
3340:
3331:
3322:
3313:
3304:
3291:
3270:
3256:Enoch Brater.
3249:
3240:
3197:
3176:
3155:
3124:
3103:
3094:
3092:Lamont, p. 275
3085:
3076:
3063:
3039:
3030:
3006:
2997:
2966:
2945:
2936:
2915:
2906:
2893:
2891:. pp. 29, 304.
2872:
2851:
2840:
2819:
2810:
2789:
2768:
2744:
2730:Robert Cohen.
2723:
2702:
2693:
2684:
2663:
2642:
2633:
2612:
2591:
2570:
2549:
2505:
2484:
2463:
2454:
2445:
2432:
2430:Lamont, p. 67.
2423:
2421:Lewis, p. 275.
2414:
2405:
2384:
2371:
2350:
2325:
2304:
2283:
2262:
2241:
2232:
2223:
2202:
2200:. pp. 5â7, 26.
2181:
2160:
2139:
2130:
2121:
2108:
2095:
2073:
2064:
2055:
2033:David Bellos.
2026:
1994:
1985:
1964:
1943:
1919:
1899:
1890:
1869:
1845:
1836:
1815:
1794:
1785:
1776:
1774:Esslin, p. 325
1767:
1758:
1737:
1728:
1707:
1686:
1674:
1653:
1624:
1589:
1560:
1531:
1515:
1497:
1476:
1463:
1440:
1437:on 2009-08-23.
1421:
1398:
1359:
1346:
1345:
1343:
1340:
1263:
1262:
1259:
1256:
1253:
1240:The Homecoming
1219:
1216:
1215:
1214:
1211:
1208:
1195:
1194:
1191:
1188:
1185:
1182:
1179:
1176:
1159:
1158:
1145:
1144:
1141:
1138:
1131:
1104:
1101:
1099:for example).
1012:
1009:
999:
996:
995:
994:
969:Czechoslovakia
955:
945:
932:
925:
912:
908:The Homecoming
903:
894:
885:
878:
865:
852:
843:
834:
819:
806:
778:
769:) in 1951 and
745:
730:
727:
675:Tadeusz Kantor
643:James Saunders
602:Quartier Latin
593:
590:
570:Damned to Fame
514:
511:
452:Antonin Artaud
421:
418:
381:Six Characters
336:Bertolt Brecht
334:, and others;
332:Nikolai Erdman
310:
307:
243:
240:
238:
235:
199:EugĂšne Ionesco
191:Samuel Beckett
183:Albert Camus's
174:
171:
166:
149:well-made play
119:EugĂšne Ionesco
111:Samuel Beckett
102:
99:
86:existentialism
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
6376:
6365:
6362:
6360:
6357:
6355:
6352:
6350:
6347:
6345:
6342:
6340:
6337:
6335:
6332:
6330:
6327:
6325:
6322:
6320:
6317:
6315:
6312:
6310:
6307:
6305:
6302:
6301:
6299:
6284:
6280:
6276:
6274:
6266:
6265:
6262:
6256:
6253:
6251:
6250:Ventriloquism
6248:
6246:
6243:
6239:
6236:
6235:
6234:
6231:
6229:
6226:
6224:
6221:
6219:
6216:
6214:
6211:
6209:
6206:
6204:
6203:Observational
6201:
6199:
6196:
6194:
6191:
6189:
6185:
6182:
6180:
6177:
6174:
6171:
6169:
6166:
6164:
6161:
6159:
6156:
6154:
6151:
6149:
6146:
6144:
6141:
6139:
6136:
6135:
6133:
6131:
6127:
6117:
6114:
6112:
6109:
6107:
6104:
6103:
6102:
6099:
6097:
6094:
6092:
6089:
6088:
6087:
6084:
6082:
6079:
6077:
6074:
6070:
6067:
6065:
6062:
6060:
6057:
6055:
6052:
6050:
6047:
6046:
6045:
6042:
6041:
6039:
6035:
6025:
6022:
6020:
6017:
6015:
6014:Opéra comique
6012:
6010:
6007:
6005:
6004:Opéra bouffon
6002:
6000:
5997:
5995:
5992:
5990:
5987:
5985:
5982:
5980:
5977:
5975:
5972:
5968:
5965:
5963:
5962:Café-chantant
5960:
5959:
5958:
5955:
5953:
5950:
5949:
5947:
5941:
5935:
5932:
5930:
5927:
5925:
5922:
5920:
5917:
5915:
5912:
5910:
5907:
5905:
5904:Sketch comedy
5902:
5900:
5897:
5895:
5892:
5888:
5885:
5884:
5883:
5880:
5878:
5875:
5871:
5868:
5867:
5866:
5863:
5861:
5858:
5856:
5853:
5851:
5848:
5846:
5843:
5841:
5838:
5836:
5833:
5831:
5828:
5826:
5823:
5821:
5818:
5816:
5813:
5812:
5810:
5806:
5794:
5791:
5789:
5786:
5784:
5781:
5779:
5776:
5774:
5771:
5770:
5768:
5764:
5761:
5759:
5756:
5755:
5753:
5749:
5746:
5745:
5743:
5739:
5736:
5735:
5734:
5731:
5730:
5728:
5724:
5718:
5715:
5713:
5710:
5708:
5705:
5703:
5700:
5698:
5695:
5694:
5692:
5688:
5685:
5681:
5678:
5676:
5672:
5662:
5659:
5657:
5654:
5652:
5649:
5647:
5644:
5640:
5637:
5635:
5632:
5631:
5630:
5627:
5625:
5622:
5620:
5617:
5615:
5612:
5610:
5607:
5605:
5602:
5600:
5597:
5595:
5592:
5590:
5587:
5585:
5582:
5581:
5579:
5575:
5569:
5566:
5564:
5561:
5559:
5556:
5554:
5551:
5550:
5548:
5544:
5541:
5539:
5535:
5529:
5526:
5524:
5521:
5519:
5516:
5514:
5511:
5509:
5506:
5504:
5501:
5499:
5496:
5494:
5491:
5489:
5488:Impressionist
5486:
5484:
5481:
5479:
5476:
5474:
5471:
5469:
5466:
5464:
5461:
5459:
5458:Comedy troupe
5456:
5454:
5451:
5449:
5446:
5444:
5441:
5440:
5438:
5434:
5430:
5423:
5418:
5416:
5411:
5409:
5404:
5403:
5400:
5386:
5383:
5382:
5381:
5378:
5376:
5373:
5371:
5368:
5366:
5363:
5361:
5358:
5356:
5353:
5351:
5348:
5344:
5341:
5340:
5339:
5338:Postmodernism
5336:
5334:
5331:
5329:
5326:
5324:
5321:
5319:
5316:
5314:
5311:
5309:
5306:
5304:
5301:
5295:
5294:Cubo-Futurism
5292:
5291:
5290:
5287:
5286:
5285:
5282:
5280:
5277:
5275:
5274:Expressionism
5272:
5270:
5267:
5265:
5262:
5261:
5259:
5255:
5249:
5246:
5244:
5241:
5239:
5236:
5234:
5231:
5229:
5226:
5224:
5221:
5219:
5216:
5214:
5211:
5209:
5206:
5204:
5201:
5199:
5196:
5194:
5191:
5189:
5186:
5185:
5183:
5177:
5167:
5164:
5162:
5159:
5157:
5154:
5152:
5149:
5147:
5144:
5142:
5139:
5137:
5134:
5132:
5129:
5127:
5124:
5122:
5119:
5117:
5114:
5112:
5109:
5107:
5104:
5102:
5101:Music theatre
5099:
5095:
5092:
5091:
5090:
5089:Minimal music
5087:
5085:
5082:
5080:
5077:
5073:
5070:
5069:
5068:
5065:
5063:
5060:
5056:
5053:
5052:
5051:
5048:
5046:
5043:
5041:
5038:
5036:
5035:Ars subtilior
5033:
5031:
5028:
5026:
5023:
5022:
5020:
5016:
5008:
5005:
5003:
5000:
4998:
4995:
4994:
4993:
4990:
4988:
4985:
4981:
4978:
4976:
4973:
4972:
4971:
4968:
4966:
4963:
4962:
4960:
4956:
4953:
4951:
4947:
4941:
4938:
4936:
4935:Visual poetry
4933:
4931:
4928:
4926:
4923:
4921:
4918:
4916:
4913:
4911:
4910:Nouveau roman
4908:
4906:
4903:
4901:
4898:
4896:
4893:
4891:
4888:
4886:
4883:
4881:
4878:
4876:
4873:
4871:
4868:
4866:
4863:
4861:
4858:
4856:
4853:
4851:
4848:
4846:
4843:
4841:
4838:
4837:
4835:
4829:
4823:
4820:
4818:
4817:Temporary art
4815:
4813:
4810:
4808:
4805:
4803:
4800:
4798:
4795:
4793:
4790:
4788:
4785:
4783:
4780:
4778:
4775:
4773:
4772:Nonconformism
4770:
4768:
4765:
4761:
4758:
4757:
4756:
4755:Neoplasticism
4753:
4751:
4748:
4746:
4745:Mir iskusstva
4743:
4741:
4738:
4736:
4733:
4731:
4728:
4726:
4723:
4721:
4718:
4716:
4713:
4711:
4708:
4706:
4705:Impressionism
4703:
4701:
4698:
4696:
4693:
4691:
4688:
4686:
4683:
4679:
4676:
4675:
4674:
4673:Functionalism
4671:
4669:
4666:
4664:
4661:
4659:
4656:
4654:
4651:
4649:
4646:
4644:
4641:
4639:
4636:
4635:
4633:
4629:
4624:
4617:
4612:
4610:
4605:
4603:
4598:
4597:
4594:
4587:
4583:
4580:
4576:
4572:
4569:
4568:0-19-281269-6
4565:
4561:
4557:
4554:
4550:
4547:
4543:
4540:
4537:
4534:
4530:
4527:
4523:
4520:
4516:
4513:
4509:
4506:
4502:
4499:
4498:0-7190-7156-9
4495:
4491:
4487:
4484:
4483:0-684-82957-6
4480:
4476:
4472:
4470:
4466:
4462:
4458:
4456:
4452:
4448:
4444:
4441:
4437:
4433:
4432:1-58456-156-4
4429:
4425:
4421:
4417:
4414:
4410:
4407:
4403:
4402:
4398:
4390:
4389:0-521-27488-5
4386:
4382:
4378:
4373:
4370:
4366:
4365:0-8021-5024-1
4362:
4358:
4352:
4349:
4345:
4344:0-8386-3299-8
4341:
4337:
4331:
4328:
4324:
4320:
4316:
4315:9971-69-182-5
4312:
4308:
4302:
4299:
4295:
4294:0-231-04752-5
4291:
4287:
4281:
4278:
4272:
4269:
4265:
4264:0-415-26583-5
4261:
4257:
4251:
4248:
4242:
4239:
4236:pp. 298, 337.
4235:
4231:
4227:
4221:
4218:
4214:
4213:0-87249-686-4
4210:
4206:
4200:
4197:
4193:
4192:0-8142-0334-5
4189:
4185:
4179:
4176:
4172:
4171:0-8166-4544-2
4168:
4164:
4158:
4155:
4151:
4150:0-253-33847-6
4147:
4143:
4137:
4134:
4130:
4129:0-573-60792-3
4126:
4122:
4116:
4113:
4109:
4108:0-521-83455-4
4105:
4101:
4095:
4092:
4088:
4084:
4080:
4079:0-8387-5236-5
4076:
4072:
4066:
4063:
4059:
4055:
4051:
4050:0-8142-0146-6
4047:
4043:
4037:
4034:
4028:
4025:
4021:
4020:0-8387-5064-8
4017:
4013:
4007:
4004:
4000:
3994:
3991:
3987:
3986:0-8021-3079-8
3983:
3979:
3973:
3970:
3966:
3962:
3958:
3957:0-8387-5101-6
3954:
3950:
3944:
3941:
3937:
3933:
3929:
3928:0-8387-5236-5
3925:
3921:
3915:
3912:
3908:
3907:0-87754-706-8
3904:
3900:
3896:
3890:
3887:
3883:
3882:0-8021-5114-0
3879:
3875:
3869:
3866:
3862:
3861:0-521-59510-X
3858:
3854:
3848:
3845:
3841:
3837:
3833:
3832:The Caretaker
3827:
3824:
3821:Saddik, p. 32
3818:
3815:
3809:
3806:
3802:
3801:0-416-31710-3
3798:
3794:
3793:Harold Pinter
3788:
3785:
3782:Saddik, p. 30
3779:
3776:
3772:
3771:0-674-01247-X
3768:
3764:
3761:Erich Segal.
3758:
3755:
3751:
3745:
3742:
3738:
3737:0-521-38335-8
3734:
3730:
3724:
3721:
3717:
3711:
3708:
3704:
3703:0-87805-342-5
3700:
3696:
3690:
3687:
3684:Esslin, p. 26
3681:
3678:
3674:
3668:
3665:
3662:. pp. 159â160
3661:
3660:0-8386-3187-8
3657:
3653:
3650:Leslie Kane.
3647:
3645:
3641:
3635:
3633:
3631:
3627:
3623:
3619:
3615:
3614:0-87249-686-4
3611:
3607:
3601:
3598:
3592:
3589:
3585:
3579:
3576:
3572:
3566:
3564:
3562:
3558:
3554:
3550:
3546:
3545:0-8203-3265-8
3542:
3538:
3532:
3529:
3525:
3519:
3516:
3512:
3506:
3503:
3499:
3495:
3491:
3490:1-57003-213-0
3487:
3483:
3477:
3474:
3470:
3466:
3462:
3461:0-8142-0146-6
3458:
3454:
3448:
3445:
3439:
3437:
3433:
3429:
3428:0-521-40843-1
3425:
3421:
3418:Dave Bradby.
3415:
3412:
3408:
3407:0-306-80898-6
3404:
3400:
3394:
3391:
3386:
3380:
3377:
3374:Lamont, p. 72
3371:
3368:
3362:
3359:
3353:
3350:
3347:Esslin, p. 21
3344:
3341:
3338:Esslin, p. 20
3335:
3332:
3329:Esslin, p. 24
3326:
3323:
3317:
3314:
3311:Saddik, p. 29
3308:
3305:
3301:
3295:
3292:
3288:
3287:0-8021-4049-1
3284:
3280:
3274:
3271:
3267:
3266:0-19-506655-3
3263:
3259:
3253:
3250:
3244:
3241:
3236:
3232:
3228:
3224:
3220:
3216:
3212:
3208:
3201:
3198:
3194:
3193:0-521-37974-1
3190:
3186:
3180:
3177:
3173:
3172:0-8264-0963-6
3169:
3165:
3159:
3156:
3151:
3145:
3137:
3133:
3128:
3125:
3121:
3120:0-521-65842-X
3117:
3113:
3107:
3104:
3098:
3095:
3089:
3086:
3080:
3077:
3073:
3067:
3064:
3060:
3059:0-7190-6184-9
3056:
3052:
3046:
3044:
3040:
3034:
3031:
3027:
3026:0-313-31141-2
3023:
3019:
3013:
3011:
3007:
3001:
2998:
2993:
2987:
2979:
2975:
2970:
2967:
2963:
2962:1-85459-864-3
2959:
2955:
2949:
2946:
2940:
2937:
2933:
2932:0-415-15954-7
2929:
2925:
2919:
2916:
2910:
2907:
2903:
2900:Allan Lewis.
2897:
2894:
2890:
2889:0-8386-3461-3
2886:
2882:
2876:
2873:
2869:
2868:90-5755-054-7
2865:
2861:
2855:
2852:
2849:
2844:
2841:
2837:
2836:0-8387-5465-1
2833:
2829:
2823:
2820:
2814:
2811:
2807:
2806:0-472-10607-4
2803:
2799:
2793:
2790:
2786:
2785:0-89410-885-9
2782:
2778:
2772:
2769:
2765:
2764:0-7614-7631-8
2761:
2757:
2751:
2749:
2745:
2741:
2740:0-87249-898-0
2737:
2733:
2727:
2724:
2720:
2719:1-57958-390-3
2716:
2712:
2706:
2703:
2700:Cody, p. 1343
2697:
2694:
2688:
2685:
2681:
2680:0-521-79410-2
2677:
2673:
2667:
2664:
2660:
2659:0-306-80770-X
2656:
2652:
2646:
2643:
2637:
2634:
2630:
2629:0-19-818423-9
2626:
2622:
2616:
2613:
2609:
2608:0-231-14424-5
2605:
2601:
2595:
2592:
2588:
2587:0-521-57429-3
2584:
2580:
2574:
2571:
2567:
2566:1-85109-411-3
2563:
2559:
2553:
2550:
2546:
2545:0-8264-1167-3
2542:
2538:
2532:
2530:
2528:
2526:
2524:
2522:
2520:
2518:
2516:
2514:
2512:
2510:
2506:
2502:
2501:0-389-20746-2
2498:
2494:
2488:
2485:
2481:
2480:0-306-80898-6
2477:
2473:
2467:
2464:
2458:
2455:
2449:
2446:
2442:
2436:
2433:
2427:
2424:
2418:
2415:
2409:
2406:
2402:
2401:0-472-10310-5
2398:
2394:
2388:
2385:
2381:
2375:
2372:
2368:
2367:0-306-80835-8
2364:
2360:
2354:
2351:
2347:
2346:0-8021-5056-X
2343:
2339:
2335:
2329:
2326:
2322:
2321:0-521-82908-9
2318:
2314:
2308:
2305:
2301:
2300:0-7475-3169-2
2297:
2293:
2287:
2284:
2280:
2279:0-415-06518-6
2276:
2272:
2269:C. D. Innes.
2266:
2263:
2259:
2258:0-415-26583-5
2255:
2251:
2245:
2242:
2239:Esslin, p. 89
2236:
2233:
2227:
2224:
2220:
2219:0-306-80835-8
2216:
2212:
2206:
2203:
2199:
2198:0-415-09619-7
2195:
2191:
2185:
2182:
2178:
2177:0-87745-817-0
2174:
2170:
2164:
2161:
2157:
2156:1-55783-311-7
2153:
2149:
2143:
2140:
2134:
2131:
2125:
2122:
2118:
2112:
2109:
2105:
2099:
2096:
2084:
2077:
2074:
2068:
2065:
2059:
2056:
2052:
2048:
2044:
2043:0-87923-980-8
2040:
2036:
2030:
2027:
2023:
2019:
2015:
2014:0-8032-8852-2
2011:
2007:
2001:
1999:
1995:
1989:
1986:
1982:
1981:0-8386-4007-9
1978:
1974:
1968:
1965:
1961:
1960:0-8057-8270-2
1957:
1953:
1947:
1944:
1940:
1939:0-8386-3559-8
1936:
1932:
1926:
1924:
1920:
1916:
1910:
1908:
1906:
1904:
1900:
1894:
1891:
1887:
1886:0-7486-2494-5
1883:
1879:
1873:
1870:
1866:
1865:0-521-09529-8
1862:
1858:
1855:J. L. Styan.
1852:
1850:
1846:
1840:
1837:
1833:
1829:
1825:
1819:
1816:
1812:
1811:0-7190-7410-X
1808:
1804:
1798:
1795:
1789:
1786:
1780:
1777:
1771:
1768:
1765:Styan, p. 126
1762:
1759:
1755:
1751:
1747:
1741:
1738:
1732:
1729:
1725:
1724:0-8021-5024-1
1721:
1717:
1711:
1708:
1704:
1703:0-521-29629-3
1700:
1696:
1693:J. L. Styan.
1690:
1687:
1681:
1679:
1675:
1671:
1670:0-7190-7410-X
1667:
1663:
1657:
1654:
1650:
1646:
1642:
1641:0-313-31141-2
1638:
1634:
1628:
1625:
1621:
1617:
1613:
1612:0-8264-1167-3
1609:
1605:
1601:
1596:
1594:
1590:
1586:
1582:
1578:
1577:0-226-17426-3
1574:
1570:
1564:
1561:
1557:
1553:
1549:
1548:1-84046-241-8
1545:
1541:
1535:
1532:
1528:
1522:
1520:
1516:
1512:
1506:
1504:
1502:
1498:
1494:
1493:9780679733737
1490:
1486:
1480:
1477:
1473:
1467:
1464:
1459:
1455:
1451:
1444:
1441:
1436:
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1425:
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1413:
1409:
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1399:
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1386:
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1378:
1374:
1370:
1363:
1360:
1356:
1351:
1348:
1341:
1339:
1336:
1331:
1329:
1325:
1321:
1317:
1316:The Mousetrap
1313:
1309:
1305:
1301:
1296:
1294:
1293:
1287:
1285:
1284:
1279:
1278:
1272:
1268:
1260:
1257:
1254:
1251:
1250:
1249:
1247:
1246:
1241:
1237:
1236:The Caretaker
1233:
1229:
1225:
1217:
1212:
1209:
1205:
1204:
1203:
1201:
1192:
1189:
1186:
1183:
1180:
1177:
1174:
1173:
1172:
1170:
1169:non-sequiturs
1166:
1165:
1155:
1154:
1153:
1151:
1142:
1139:
1136:
1132:
1129:
1128:
1127:
1125:
1124:
1123:The Caretaker
1119:
1115:
1111:
1102:
1100:
1098:
1097:The Zoo Story
1094:
1093:
1088:
1084:
1080:
1076:
1075:
1068:
1066:
1065:
1060:
1056:
1052:
1051:
1045:
1041:
1037:
1031:
1029:
1025:
1021:
1020:
1010:
1008:
1006:
997:
992:
988:
984:
980:
979:
974:
970:
966:
962:
961:
956:
953:
952:
946:
943:
939:
938:
933:
930:
926:
923:
919:
918:
913:
910:
909:
904:
901:
900:
895:
892:
891:
886:
883:
879:
876:
872:
871:
866:
863:
859:
858:
853:
850:
849:
844:
841:
840:
839:The Zoo Story
835:
832:
831:
826:
825:
820:
817:
813:
812:
807:
802:
798:
794:
789:
785:
784:
779:
776:
772:
768:
764:
760:
756:
752:
751:
746:
743:
739:
738:
733:
732:
728:
726:
724:
720:
716:
712:
711:Miguel Mihura
709:from Israel;
708:
704:
700:
696:
692:
688:
684:
680:
676:
672:
668:
665:; in Poland,
664:
660:
656:
652:
648:
647:David Campton
644:
640:
639:N. F. Simpson
636:
632:
631:Harold Pinter
627:
623:
620:from Russia;
619:
618:Arthur Adamov
615:
611:
607:
603:
599:
591:
589:
587:
583:
582:
577:
576:
571:
567:
562:
559:
553:
549:
544:
539:
535:
534:
528:
526:
525:
520:
512:
510:
508:
504:
499:
495:
494:Tristan Tzara
491:
487:
483:
481:
477:
476:
471:
466:
464:
459:
457:
453:
450:, founded by
449:
445:
444:
439:
435:
431:
427:
419:
417:
415:
411:
410:
405:
400:
398:
394:
390:
386:
382:
378:
377:W. B. Worthen
374:
370:
366:
362:
361:
357:, especially
356:
351:
349:
345:
341:
337:
333:
329:
328:Daniil Kharms
325:
321:
317:
316:Lewis Carroll
308:
306:
304:
303:
298:
297:Buster Keaton
294:
293:Keystone Cops
290:
286:
282:
278:
273:
271:
270:
265:
264:
259:
255:
254:
249:
241:
236:
234:
232:
228:
224:
220:
216:
212:
208:
207:Harold Pinter
204:
200:
196:
195:Arthur Adamov
192:
187:
184:
180:
172:
169:
164:
159:
157:
152:
150:
146:
142:
138:
137:
130:
128:
124:
120:
116:
115:Arthur Adamov
112:
108:
107:Martin Esslin
100:
98:
96:
92:
87:
83:
79:
75:
71:
66:
62:
58:
54:
46:
45:Otomar KrejÄa
42:
38:
37:
32:
19:
6111:Black sitcom
6091:Mockumentary
5999:Opéra bouffe
5967:Café-théùtre
5952:Ballad opera
5870:Harlequinade
5820:Comedy-drama
5599:Mockumentary
5483:Impersonator
5463:Comic timing
5203:Epic theatre
5040:Atonal music
4875:Flarf poetry
4865:Ego-Futurism
4663:Proto-Cubism
4585:
4578:
4574:
4559:
4552:
4545:
4538:
4532:
4525:
4518:
4511:
4504:
4489:
4474:
4460:
4446:
4419:
4412:
4405:
4380:
4372:
4356:
4351:
4335:
4330:
4306:
4301:
4285:
4280:
4271:
4255:
4250:
4241:
4225:
4220:
4204:
4203:Alan Astro.
4199:
4183:
4178:
4162:
4157:
4141:
4136:
4120:
4115:
4099:
4094:
4089:. pp. 76â94.
4070:
4065:
4041:
4036:
4027:
4011:
4006:
3998:
3993:
3977:
3972:
3967:. pp. 61â63.
3948:
3943:
3938:. pg. 33â34.
3919:
3914:
3898:
3894:
3889:
3873:
3868:
3852:
3847:
3834:. DPS, 1991.
3831:
3826:
3817:
3808:
3792:
3787:
3778:
3762:
3757:
3749:
3744:
3728:
3723:
3715:
3710:
3694:
3689:
3680:
3672:
3667:
3651:
3605:
3604:Alan Astro.
3600:
3591:
3583:
3578:
3570:
3536:
3531:
3523:
3518:
3510:
3505:
3481:
3476:
3471:. pp. 70â73.
3452:
3447:
3419:
3414:
3398:
3393:
3379:
3370:
3361:
3352:
3343:
3334:
3325:
3316:
3307:
3299:
3294:
3278:
3273:
3257:
3252:
3243:
3213:(1): 94â96.
3210:
3206:
3200:
3184:
3179:
3163:
3158:
3127:
3111:
3110:Peter Raby.
3106:
3097:
3088:
3079:
3071:
3066:
3050:
3037:Graver, xvii
3033:
3017:
3000:
2969:
2953:
2948:
2939:
2923:
2918:
2913:Lamont, p. 3
2909:
2901:
2896:
2880:
2875:
2859:
2854:
2843:
2827:
2822:
2817:Gies, p. 258
2813:
2797:
2792:
2776:
2771:
2755:
2742:. pp. 35â36.
2731:
2726:
2710:
2705:
2696:
2687:
2671:
2666:
2650:
2649:Don Shewey.
2645:
2636:
2620:
2615:
2599:
2594:
2578:
2573:
2557:
2552:
2536:
2492:
2487:
2471:
2466:
2457:
2448:
2440:
2435:
2426:
2417:
2408:
2392:
2387:
2379:
2374:
2358:
2353:
2337:
2333:
2328:
2312:
2307:
2291:
2286:
2270:
2265:
2249:
2244:
2235:
2226:
2210:
2205:
2189:
2184:
2168:
2163:
2147:
2146:Mel Gussow.
2142:
2133:
2124:
2116:
2111:
2103:
2098:
2086:. Retrieved
2076:
2067:
2058:
2034:
2029:
2005:
1988:
1972:
1967:
1951:
1946:
1930:
1914:
1893:
1877:
1872:
1856:
1839:
1823:
1818:
1802:
1797:
1788:
1779:
1770:
1761:
1756:. pp. 30â31.
1745:
1740:
1731:
1726:. pp. 18â19.
1715:
1710:
1694:
1689:
1661:
1656:
1632:
1627:
1603:
1568:
1563:
1539:
1534:
1526:
1510:
1484:
1479:
1471:
1466:
1450:Absurd Drama
1449:
1443:
1435:the original
1424:
1407:
1401:
1376:
1372:
1362:
1354:
1350:
1334:
1332:
1327:
1323:
1319:
1315:
1311:
1307:
1303:
1299:
1297:
1290:
1288:
1281:
1275:
1270:
1266:
1264:
1243:
1239:
1235:
1231:
1227:
1223:
1221:
1199:
1196:
1162:
1160:
1149:
1146:
1134:
1121:
1117:
1113:
1109:
1106:
1096:
1090:
1086:
1082:
1078:
1072:
1069:
1062:
1058:
1054:
1048:
1043:
1035:
1032:
1023:
1017:
1014:
1004:
1001:
976:
965:VĂĄclav Havel
958:
951:The Dictator
950:
941:
935:
928:
921:
915:
906:
897:
888:
881:
874:
868:
861:
855:
846:
837:
828:
822:
815:
809:
781:
774:
770:
766:
762:
754:
748:
741:
735:
723:VĂĄclav Havel
713:from Spain;
707:Hanoch Levin
705:from Egypt;
691:GĂŒnter Grass
679:Dino Buzzati
677:; in Italy,
651:Edward Albee
635:Tom Stoppard
610:Jean Tardieu
595:
579:
573:
569:
565:
563:
537:
531:
529:
522:
516:
507:André Breton
484:
473:
467:
460:
456:Roger Vitrac
441:
437:
434:'pataphysics
429:
426:Alfred Jarry
423:
407:
401:
380:
373:Henrik Ibsen
358:
352:
344:epic theatre
312:
300:
274:
267:
261:
251:
245:
231:Jean Tardieu
223:Edward Albee
211:Tom Stoppard
188:
178:
176:
161:
156:Absurd Drama
155:
153:
134:
131:
123:Albert Camus
104:
70:World War II
68:) is a postâ
52:
50:
34:
6179:Documentary
6175:(dry humor)
6138:Alternative
6116:Teen sitcom
6009:Opera buffa
5984:Light music
5979:Comedy club
5929:Tragicomedy
5894:Shadow play
5355:Primitivism
5181:and theatre
5121:Noise music
5094:Drone music
4925:Slam poetry
4812:Suprematism
4797:Process art
4725:Incoherents
4720:Color Field
4695:Divisionism
4643:Art Nouveau
4623:Avant-garde
4581:, (2), 108.
4224:Ruby Cohn.
4140:Les Essif.
4060:. pp. 76â89
3909:. p. 22â23.
3716:Avant-Garde
2787:. p. 1, 27.
2651:Sam Shepard
2167:Eli Rozik.
1971:Jill Fell.
1567:Joel Agee.
1379:(4): 3â15.
1304:The Balcony
983:David Mamet
960:Catastrophe
927:Stoppard's
811:The Balcony
791: [
775:Les Chaises
683:Peter Weiss
659:Jack Gelber
655:Sam Shepard
598:Rive Gauche
546: [
503:Paul Eluard
463:Qorpo-Santo
389:roleplaying
385:metatheatre
365:fourth wall
320:Edward Lear
248:tragicomedy
82:playwrights
6349:Surrealism
6298:Categories
6086:Television
5989:Music hall
5934:Vaudeville
5855:Macchietta
5845:Double act
5754:Indonesia
5748:Mo lei tau
5744:Hong Kong
5738:Xiangsheng
5609:Remarriage
5518:Visual gag
5508:Punch line
5503:Prank call
5375:Surrealism
5313:Minimalism
5188:Cinéma pur
4833:and poetry
4831:Literature
4740:Minimalism
4631:Visual art
4512:Jean Genet
3840:0822201844
3174:. p. xxvi.
2610:. p. 1285.
2568:. p. 1187.
2024:. pp. ixâx
1832:3718655837
1342:References
1324:Travesties
1267:The Chairs
1200:The Lesson
1092:The Lesson
1055:Rhinocéros
1050:The Killer
1044:The Visit,
1028:archetypal
1019:The Chairs
1011:Characters
957:Beckett's
934:Arrabal's
917:Marat/Sade
890:Happy Days
887:Beckett's
882:Rhinoceros
875:Les NĂšgres
870:The Blacks
854:Arrabal's
780:Beckett's
777:) in 1952.
771:The Chairs
763:The Lesson
747:Ionesco's
742:Les Bonnes
663:John Guare
614:Boris Vian
606:Jean Genet
538:Rhinoceros
533:Rhinoceros
480:surrealist
468:Artaud's "
340:distancing
305:in 1965.)
285:music hall
281:vaudeville
237:Precursors
227:Boris Vian
203:Jean Genet
141:vaudeville
91:irrational
6334:Metaphors
6233:Slapstick
6158:Christian
6153:Character
6130:Subgenres
5945:and dance
5865:Pantomime
5651:Slapstick
5624:Screwball
5528:Word play
5380:Symbolism
5308:Modernism
5141:Serialism
5126:Post-rock
5067:Free jazz
4975:Free funk
4930:UltraĂsmo
4885:Imaginism
4860:Cyberpunk
4822:Vorticism
4625:movements
4266:. p. 243.
4215:. p. 177.
4173:. p. 120.
4152:. pp. 1â9
4110:. p. 221.
4022:. p. 198.
3705:. p. 189.
3624:. p. 116.
3409:. p. 424.
3268:. p. 139.
3227:1520-281X
2964:. p. 169.
2808:. p. 151.
2766:. p. 408.
2631:. p. 356.
2547:. p. 428.
2482:. p. 231.
2403:. p. 145.
2281:. p. 118.
2221:. p. 148.
2179:. p. 264.
2158:. p. 303.
1941:. p. 332.
1867:. p. 217.
1813:. p. 143.
1672:. p. 280.
1458:748978381
1300:The Maids
1277:Footfalls
1016:Woman in
905:Pinter's
816:Le Balcon
805:in Paris.
737:The Maids
586:Heidegger
558:absurdity
486:Absurdism
101:Etymology
6273:Category
6208:Physical
6019:Operetta
5793:Sarugaku
5661:Thriller
5553:American
5473:Humorist
5443:Comedian
5328:Neo-Dada
5303:Lettrism
5284:Futurism
5198:Drop Art
5193:Dogme 95
5161:Totalism
5079:Futurism
5030:Ars nova
4958:By style
4905:Neoteric
4807:Rayonism
4760:De Stijl
4735:Mail art
4690:DevÄtsil
4391:. p. 48.
4346:. p. 24.
4296:. p. 53.
4131:. p. 31.
3988:. p. 67.
3884:. p. 51.
3863:, p. 81.
3803:. p. 37.
3739:. p. 40.
3569:Bradby,
3235:57570160
3195:. p. 37.
3144:cite web
3122:. p. xv.
3061:. p. 204
2986:cite web
2838:. p. 88.
2721:. p. 335
2682:. p. 124
2589:. p. 229
2503:. p. 107
2369:. p. 63.
2348:. p. 11.
2053:. p. 596
1705:, p. 125
1622:. p. 438
1558:. p.181.
1207:Romanian
1103:Language
1036:The Room
914:Weiss's
896:Albee's
867:Genet's
836:Albee's
824:The Room
767:La Leçon
734:Genet's
397:identity
6245:Surreal
6173:Deadpan
6059:Hip hop
5957:Cabaret
5683:Country
5675:Theatre
5639:Mexican
5634:Italian
5614:Romance
5589:Fantasy
5568:Italian
5558:British
5546:Country
5257:General
5116:No wave
4890:Imagism
4840:Acmeism
4792:Pop art
4782:Orphism
4700:Fauvism
4678:Bauhaus
4588:, 3(8).
4546:Ionesco
4434:(10).
4367:. p. 1.
3842:, p. 32
3773:p. 422.
3748:Styan,
3298:Styan,
3289:. p. 44
3070:Styan,
2934:. p. 88
2902:Ionesco
2870:. p. 34
2323:. p. 10
2302:, p. 65
2115:Styan,
2088:31 July
1983:. p. 53
1962:. p. 17
1888:. p. 28
1834:. xvii.
1587:. p. xi
1393:1124873
1335:Endgame
1087:Endgame
592:History
566:failure
490:Dadaism
414:surreal
369:realism
263:Macbett
253:Endgame
165:because
145:realism
105:Critic
95:silence
47:, 1978.
43:, dir.
6283:Portal
6255:Zombie
6238:Topics
6198:Insult
6193:Horror
6168:Cringe
6101:Sitcom
6064:Parody
5788:Rakugo
5783:Owarai
5778:Manzai
5773:KyĆgen
5769:Japan
5763:Ludruk
5758:Lenong
5690:Europe
5656:Stoner
5646:Silent
5604:Parody
5594:Horror
5584:Action
5563:French
5513:Satire
5478:Humour
5436:Topics
5429:Comedy
5333:Neoism
5279:Fluxus
5179:Cinema
5018:Others
4920:Oulipo
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4802:Purism
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3072:Modern
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428:whose
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6143:Black
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6076:Novel
6049:Album
6044:Music
6037:Media
6024:Revue
5943:Music
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1495:p. 2
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1454:OCLC
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