1109: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
20:
545:, 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
261:. 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."
1284:, 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.
454:, 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
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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
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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
151:
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
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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
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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
1035:
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
156:
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
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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
991:
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
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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
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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."
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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
561:, 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
3575:. 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.
1046:, 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
302:
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
996:("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."
77:
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
132:, 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
1022:
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
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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
1195:
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
435:) 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
121:
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
1326:
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.
110:. 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
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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
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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
516:, 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".
489:
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
1105:, 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
467:) 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
1287:
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
1258:, 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
557:
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
525:
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
1223:, 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
1237:: 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:
845:
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arranged the language as one arranges music. Distinctively absurdist language ranges from meaningless clichés to vaudeville-style word play to meaningless nonsense.
1202:
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"...
152:
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
1295:
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
925:
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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
431:
605:., were born in France. Many other absurdists were born elsewhere but lived in France, writing often in French: Beckett from Ireland; Ionesco from Romania;
510:, the philosophical spokesman for existentialism in Paris, but few absurdists actually committed to Sartre's own existentialist philosophy, as expressed in
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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
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Ionesco, however, hated Sartre bitterly. Ionesco accused Sartre of supporting communism but ignoring the atrocities committed by communists; he wrote
264:
Though layered with a significant amount of tragedy, theatre of the absurd echoes other great forms of comedic performance, according to Esslin, from
531:
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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
128:(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
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1231:, 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
1247:
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
1146:
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...
1027: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
2072:""Mateus e Mateusa" de Qorpo Santo: desconhecido do grande pĂșblico, escritor brasileiro Ă© um dos pioneiros do Teatro do Absurdo"
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Absence, emptiness, nothingness, and unresolved mysteries are central features in many absurdist plots: for example, in
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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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1441:. 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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1518:, 3rd ed. (New York: Vintage , 2004). (Subsequent references to this ed. appear within parentheses in the text.)
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1502:(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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1070:); one character may be clearly dominant and may torture the passive character (like Pozzo and Lucky in
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866:) 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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1078:); the relationship of the characters may shift dramatically throughout the play (as in Ionesco's
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245:, "Nothing is funnier than unhappiness ⊠it's the most comical thing in the world". Esslin cites
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471:, 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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352:. 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".
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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.
1303:; these characters, in turn, have various encounters with the players who perform
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Davies: That's it ⊠that's what I'm getting at is ⊠I mean, what sort of jobs ⊠(
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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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913:) was first performed in West Berlin in 1964 and in New York City a year later.
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198:. Other writers associated with this group by Esslin and other critics include
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2095:. 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
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The Rites of Passage of Jean Genet: The Art and Aesthetics of Risk Taking
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The history of world theater: from the English restoration to the present
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The history of world theater: from the English restoration to the present
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was presented at the Drama Studio at the University of Bristol. Pinter's
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to be "too philosophical" and he considered himself "not a philosopher".
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reality that is conveyed through the apparent dislocation of language."
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Absurd does not provoke tears of despair but the laughter of liberation.
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Haney, W.S., II. "Beckett Out of His Mind: The Theatre of the Absurd".
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594:
468:
402:
273:
269:
215:
191:
129:
79:
70:
1902:
Allan Lewis. "The Theatre of the 'Absurd' â Beckett, Ionesco, Genet".
1219:. Often there is a menacing outside force that remains a mystery; in
937:
6221:
5853:
5516:
5296:
5129:
5114:
5055:
5028:
4975:
4963:
4873:
4848:
4810:
4404:. Actes du colloque de Strasbourg, Paris, Editions Klincksieck, 1974.
1265:
1016:
725:
546:
5761:
3153:
Marat/Sade; The investigation; and The shadow of the coachman's body
2610:
The Oxford English Literary History: 1960â2000: The Last of England?
2158:
The roots of theatre: rethinking ritual and other theories of origin
1373:
840:
by Beckett was first performed at the Royal Court Theatre in London.
6136:
6007:
5781:
5461:
5431:
5316:
5291:
5272:
5186:
5181:
5149:
5018:
4893:
4795:
4748:
4723:
4450:
The Cambridge Introduction to Theatre and Literature of the Absurd.
2432:. Trans. Jan Dawson. Holt, Rinehard and Winston, 1971. pp. 122â123.
1129:
Aston: Well, there's things like the stairs ⊠and the ⊠the bells âŠ
831:
premiered in West Berlin at the Schiller Theater Werkstatt in 1959.
4296:
A stylistics of drama: with special focus on Stoppard's Travesties
6161:
5945:
5104:
4878:
4780:
4688:
4666:
1904:
The Contemporary Theatre: The Significant Playwrights of Our Time
589:) avant-garde phenomenon tied to extremely small theatres in the
478:
425:â"the science of imaginary solutions"âfirst presented in Jarry's
251:
178:
Esslin presents the four defining playwrights of the movement as
83:
1182:
Goldberg: Speak up Webber. Why did the chicken cross the road?
6089:
5776:
5771:
5766:
5751:
5746:
5501:
5466:
5417:
5321:
5267:
4908:
4903:
4790:
4656:
1315:, James Joyce and Tristan Tzara slip in and out of the plot of
1052:
421:
plays scandalized Paris in the 1890s. Likewise, the concept of
4479:
Beckett's Dantes: Intertextuality in the Fiction and Criticism
4402:
LâOnirisme et lâinsolite dans le thĂ©Ăątre français contemporain
1813:
The major plays of Nikolai Erdman: The warrant and The suicide
6151:
6012:
5481:
5456:
3718:
Verbal Violence in Contemporary Drama: From Handke to Shepard
891:
also premiered in New York the following year, on October 13.
118:", describes the human situation as meaningless and absurd.
5486:
5257:
4928:
4564:
Mommy's American Dream in Edward Albee's the American Dream
2836:
194:, and in subsequent editions he added a fifth playwright,
5511:
5386:
2371:. Tr. Jean Stewart. London: Faber and Faber, 1968. p. 78.
1846:
The dark comedy: the development of modern comic tragedy.
952:âdedicated to then-imprisoned Czech dissident playwright
710:
from Bulgaria; and playwright and former Czech president
477:
is also frequently compared to surrealism's predecessor,
4031:
The dramatic world of Harold Pinter: its basis in ritual
3442:
The dramatic world of Harold Pinter: its basis in ritual
3040:
The Paris jigsaw: internationalism and the city's stages
1529:
The plays of Tom Stoppard: for stage, radio, TV and film
900:
premiered in London in June 1965 at the Aldwych Theatre.
288:
as direct influences. (Keaton even starred in Beckett's
3120:
2962:
1275:
only a junk heap on stage and the sounds of breathing.
408:
4530:, numéro spécial "Arthur Adamov", août-septembre 1973.
3247:
Beyond Minimalism: Beckett's Late Style in the Theater
1669:
1667:
873:
which premiered in Paris in January 1960 at the Odeon.
530:
without recommending a solution. In a 1966 interview,
427:
Gestes et opinions du docteur Faustroll, pataphysicien
3374:"Open access journal for Film and Television Studies"
573:, he generally found the writing style of Sartre and
432:
Exploits and Opinions of Dr. Faustroll, pataphysician
1150:
Nonsense may also be used abusively, as in Pinter's
1019:, or flat character types as in Commedia dell'arte.
82:
and illogical speech and to the ultimate conclusionâ
4171:Morris Beja, S. E. Gontarski, Pierre A. G. Astier.
4152:
Ghosts: death's double and the phenomena of theatre
4001:
Beckett's theaters: interpretations for performance
3502:. University of California Press, 1966. pp. 96â102.
1664:
1241:
Harry: There was nothing ⊠but we were very scared.
920:
premiered at the Edinburgh Festival Fringe in 1966.
501:
272:. Similarly, Esslin cites early film comedians and
3707:. University of California Press, 2003. pp.155â156
3155:. Continuum International Publishing Group, 1998.
3007:Edward Albee: a research and production sourcebook
2528:. Continuum International Publishing Group, 1999.
1622:Edward Albee: a research and production sourcebook
1595:. Continuum International Publishing Group, 1999.
1420:"THE THEATRE OF THE ABSURD: THE WEST AND THE EAST"
2568:The Cambridge companion to modern Spanish culture
2024:Georges Perec: a life in words : a biography
1733:Friedrich DĂŒrrenmatt. "Problems of the Theatre".
1250:Edna: We were frightened ⊠and there was nothing.
1199:Pupil: The ⊠how do you say "roses" in Romanian?
1170:Goldberg: You verminate the sheet of your birth.
1056:) in which the outcome has already been written.
6284:
4060:Harold Pinter and the language of cultural power
3909:Harold Pinter and the language of cultural power
2817:The Portuguese nun: formation of a national myth
2745:World and Its Peoples: Eastern and Southern Asia
1920:Madness, Masks, and Laughter: An Essay on Comedy
1179:Mccann: What about the blessed Oliver Plunkett?
506:Many of the absurdists were contemporaries with
3500:Avant-garde: the experimental theater in France
2849:Eastern European Theater After the Iron Curtain
2520:
2518:
1176:Goldberg: Who watered the wicket in Melbourne?
4325:Myth and ritual in the plays of Samuel Beckett
2516:
2514:
2512:
2510:
2508:
2506:
2504:
2502:
2500:
2498:
2382:Ionesco's imperatives: the politics of culture
1510:
1508:
1494:
1492:
1490:
746:) was first performed on May 11, 1950, at the
5402:
4596:
4452:Cambridge: Cambridge University Press, 2015.
3623:
3621:
3619:
3427:
3425:
2200:Present past, past present: a personal memoir
1299:: it is a play about two minor characters in
1291:, two maids pretend to be their mistress; in
1173:Mccann: What about the Albigensenist heresy?
1015:"). Characters are frequently stereotypical,
807:) was produced in London at the Arts Theatre.
775:was first performed on 5 January 1953 at the
706:from Portugal; Mikhail Volokhov from Russia;
3890:. New York: Chelsea House Publishers, 1987.
3554:
3552:
3550:
2739:
2737:
2698:Gaetana Marrone, Paolo Puppa, Luca Somigli.
2137:Theatre on the edge: new visions, new voices
1840:
1838:
1584:
1582:
1322:Plots are frequently cyclical: for example,
230:
3635:
3633:
3573:Beyond Absurdity: The Plays of Tom Stoppard
3137:: CS1 maint: numeric names: authors list (
2979:: CS1 maint: numeric names: authors list (
2495:
2482:New tragedy and comedy in France, 1945â1970
1898:
1896:
1894:
1892:
1558:DĂŒrrenmatt, Friedrich: Friedrich DĂŒrrenmatt
1505:
1487:
1050:, for example, find themselves in a story (
5409:
5395:
4603:
4589:
4393:Ackerley, C. J. and S. E. Gontarski, ed.
3988:Encyclopedia of Literature & Criticism
3863:The Birthday Party and The Room: Two Plays
3616:
3422:
2524:Felicia Hardison Londré, Margot Berthold.
2281:Damned to Fame: The Life of Samuel Beckett
1989:
1987:
1914:
1912:
869:1959 also saw the completion of Ionesco's
69:written by a number of primarily European
28:, a herald for the Theatre of the Absurd.
4610:
4575:Theory & Practice in Language Studies
4407:Baker, William, and John C. Ross, comp.
3547:
3193:
3034:
3032:
2734:
2589:The Columbia encyclopedia of modern drama
2069:
1835:
1579:
297:
4415:and New Castle, DE: Oak Knoll P, 2005.
4409:Harold Pinter: A Bibliographical History
4327:. Fairleigh Dickinson Univ Press, 1987.
4275:Metafictional Characters in Modern Drama
4110:A delicate balance: a play in three acts
3643:. Fairleigh Dickinson Univ Press, 1984.
3630:
3513:Bloom's Major Dramatists: EugĂšne Ionesco
3101:The Cambridge companion to Harold Pinter
2872:. Fairleigh Dickinson Univ Press, 1992.
2700:Encyclopedia of Italian literary studies
1964:. Fairleigh Dickinson Univ Press, 2005.
1922:. Fairleigh Dickinson Univ Press, 1995.
1889:
1653:. Manchester University Press ND, 2006.
18:
4089:The Cambridge Companion to Edward Albee
3660:Lisa M. Siefker Bailey, Bruce J. Mann.
3125:"www.haroldpinter.org - The Homecoming"
3001:
2999:
2283:. London. Bloomsbury Publishing, 1997.
2179:Twentieth-century theatre: a sourcebook
2070:Frederico, Manoel (29 September 2019).
1984:
1909:
1422:. University of Glasgow. Archived from
1164:Goldberg: What do you use for pajamas?
1119:Aston: More or less exactly what you...
1068:Rosencrantz & Guildenstern Are Dead
1048:Rosencrantz & Guildenstern Are Dead
918:Rosencrantz & Guildenstern Are Dead
170:, Esslin quotes the French philosopher
6285:
4395:The Grove Companion to Samuel Beckett.
4217:. University of Michigan Press, 2001.
4196:. Univ of South Carolina Press, 1990.
4173:Samuel Beckettâhumanistic perspectives
3515:. 2003. Infobase Publishing. p106-110.
3029:
2789:. University of Michigan Press, 1996.
2723:. Univ of South Carolina Press, 1993.
2384:. University of Michigan Press, 1993.
1962:Alfred Jarry, an imagination in revolt
1794:Manchester University Press ND, 2006.
1436:
1394:
1355:
986:
235:The mode of most "absurdist" plays is
5390:
4584:
4033:. Ohio State University Press, 1971.
3940:. Associated University Presse, 1986
3844:. Camberidge University Press, 2001.
3597:. Univ of South Carolina Press, 1990
3473:.Univ of South Carolina Press, 1998.
3196:PAJ: A Journal of Performance and Art
3042:. Manchester University Press, 2002.
2913:Samuel Beckett: The Critical Heritage
2587:Gabrielle H. Cody, Evert Sprinchorn.
1474:The Myth of Sisyphus and Other Essays
1437:Esslin, Martin (1965). Introduction.
1417:
1297:Rosencrantz and Guildenstern are Dead
349:Six Characters in Search of an Author
258:Rosencrantz and Guildenstern Are Dead
52:
4438:New York: Palgrave Macmillan, 2011.
4372:. Cambridge University Press, 1989.
4175:.Ohio State University Press, 1983.
4091:. Cambridge University Press, 2005.
3888:Modern Critical Views: Harold Pinter
3720:. Cambridge University Press, 1992.
3686:. Univ. Press of Mississippi, 1988.
3528:. University of Georgia Press, 2008
3444:. Ohio State University Press, 1971
3411:. Cambridge University Press, 1991.
3249:. Oxford University Press US, 1990.
3176:. Cambridge University Press, 1989.
3103:. Cambridge University Press, 2001.
3009:. Greenwood Publishing Group, 2003.
2996:
2663:. Cambridge University Press, 2000.
2570:. Cambridge University Press, 1999.
1624:. Greenwood Publishing Group, 2003.
1560:.University of Chicago Press, 2006.
717:
409:Pataphysics, surrealism, and Dadaism
4522:Studies in the Literary IMagination
4277:. Columbia University Press, 1979.
4003:. Bucknell University Press, 1984.
2911:Lawrence Graver, Raymond Federman.
2819:. Bucknell University Press, 2000.
2591:. Columbia University Press, 2007.
2321:Jean-Paul Sartre. "Introduction to
2304:.Cambridge University Press, 2003.
2026:. David R. Godine Publisher, 1993.
1869:.Edinburgh University Press, 2007.
1686:. Cambridge University Press, 1983
1684:Modern Drama in Theory and Practice
1346:, Millennium Edition, Helicon 1999.
593:. Some of the absurdists, such as
481:(for example, the Dadaist plays by
391:Another influential playwright was
13:
4494:Samuel Beckett: The Last Modernist
4387:
4133:. Indiana University Press, 2001.
4062:. Bucknell University Press, 1993.
3911:. Bucknell University Press, 1993
3754:. Harvard University Press, 2001.
3471:Understanding Friedrich DĂŒrrenmatt
3388:Samuel Beckett: the last modernist
2768:. Lynne Rienner Publishers, 2003.
2608:Randall Stevenson, Jonathan Bate.
2545:Bill Marshall, Cristina Johnston.
2461:Samuel Beckett: the last modernist
2160:. University of Iowa Press, 2002.
1848:Cambridge University Press, 1968.
822:premiered in the West End in 1958.
14:
6364:
3266:Chris Ackerley, S. E. Gontarski.
2766:Tawfiq al-Hakim: a reader's guide
2612:. Oxford University Press, 2004.
2484:.Rowman & Littlefield, 1988.
2430:Conversations with EugĂšne Ionesco
2139:. Hal Leonard Corporation, 1998.
1993:Raymond Queneau, Marc Lowenthal.
401:was the first work to be called "
6266:
6257:
6256:
4359:
4338:
4317:
4288:
4267:
4258:
4237:
4228:
4207:
4186:
4165:
4144:
4123:
4102:
4081:
4052:
4023:
4014:
3993:
3980:
3967:The Bald Soprano and Other Plays
3959:
3930:
3901:
3876:
3855:
3834:
3813:
3804:
3795:
3780:Guido Almansi, Simon Henderson.
3774:
3765:
3744:
3731:
3710:
3697:
3676:
3667:
3654:
3587:
3578:
3565:
3518:
3505:
3492:
3463:
3434:
3401:
3380:
3366:
3357:
3348:
3339:
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3321:
3312:
3303:
3294:
3281:
3260:
3239:
3230:
3187:
3166:
3145:
3114:
3093:
3038:David Bradby, Maria M. Delgado.
2893:. Twayne Publishers, 1972. p. 33
2661:Modern American drama, 1945â2000
1941:The French theater of the absurd
1906:. Crown Publishers, 1966. p. 260
567:. Beckett said, though he liked
502:Relationship with existentialism
372:and other Pirandello plays use "
342:One commonly cited precursor is
143:In his introduction to the book
16:Theatrical genre since the 1950s
4294:Peter K. W. Tan, Tom Stoppard.
3938:Drama, Metadrama and perception
3684:Conversations with Edward Albee
3682:Edward Albee, Philip C. Kolin.
3084:
3075:
3066:
3053:
3020:
2987:
2956:
2935:
2926:
2905:
2896:
2883:
2862:
2841:
2830:
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2800:
2779:
2758:
2713:
2692:
2683:
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2653:
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2623:
2602:
2581:
2560:
2539:
2474:
2453:
2444:
2435:
2422:
2413:
2404:
2395:
2374:
2361:
2340:
2315:
2294:
2273:
2252:
2231:
2222:
2213:
2192:
2171:
2150:
2129:
2120:
2111:
2098:
2085:
2063:
2054:
2045:
2016:
1975:
1954:
1933:
1880:
1859:
1826:
1805:
1784:
1775:
1766:
1757:
1748:
1735:The Marriage of Mr. Mississippi
1727:
1718:
1697:
1676:
1643:
1614:
1550:
1521:
1317:The Importance of Being Earnest
1281:Amédée, or How to Get Rid of It
888:Who's Afraid of Virginia Woolf?
4503:. New York: Columbia UP, 1966.
4154:. U of Minnesota Press, 2006.
3409:Modern French Drama: 1940â1990
3386:Anthony Cronin, Isaac Cronin.
2967:"www.haroldpinter.org - Plays"
2459:Anthony Cronin, Isaac Cronin.
2260:Avant garde theatre, 1892â1992
1466:
1463:(paris: Gallimard, 1942), p.18
1453:
1430:
1411:
1388:
1349:
1337:
1307:, the play-within-the-play in
1066:or the two main characters in
933:) was first performed in 1966.
1:
4542:The Imagination of Jean Genet
4112:. Samuel French, Inc., 1994.
3664:. 2003. Routledge. pp. 33â44.
2847:Kalina Stefanova, Ann Waugh.
1640:. pp. 13, 17 29, 40, 55, 232.
1330:
1084:or in many of Albee's plays,
999:
750:. Ionesco followed this with
225:
4544:. New Haven: Yale UP, 1963.
4496:. New York: Da Capo P, 1997.
4245:The Makers of Modern Culture
4194:Understanding Samuel Beckett
3595:Understanding Samuel Beckett
2747:. Marshall Cavendish, 2007.
2401:"Beyond Bourgeois Theatre" 6
1244:Edna: We ⊠were ⊠terrified.
943:premiered in Beirut in 1969.
335:"; and the "dream plays" of
89:
7:
3584:Ackerley, pp. 334, 465, 508
3174:The theatre of Tom Stoppard
3151:Peter Weiss, Robert Cohen.
1997:.U of Nebraska Press, 2000
1943:. Twayne Publishers, 1991.
1867:Contemporary American Drama
1531:.Palgrave Macmillan, 2001.
1358:"The Theatre of the Absurd"
1344:The Hutchinson Encyclopedia
1091:
313:StanisĆaw Ignacy Witkiewicz
61:designation for particular
54:[teÉtÊ(É)dÉlapsyÊd]
10:
6369:
5416:
5349:Situationist International
4537:. New York: Twayne, 1972.
4517:. New York: Twayne, 1996.
3842:Beckett, Waiting for Godot
2941:Ian Smith, Harold Pinter.
2348:Present Past, Past Present
2093:The Theatre and Its Double
956:, who became president of
810:That May, Harold Pinter's
580:
6252:
6117:
6025:
5931:
5796:
5714:
5678:
5671:
5662:
5565:
5534:
5525:
5424:
5245:
5167:
5006:
4946:
4937:
4819:
4619:
4508:The theatre of the absurd
3990:. 1990. Routledge. p. 10.
3526:The Ghost on the Ramparts
2945:. Nick Hern Books, 2005.
2721:Understanding Peter Weiss
2327:The Maids; and Deathwatch
2323:The Maids; and Deathwatch
1792:The absurd in literature.
1516:The Theatre of the Absurd
1500:The Theatre of the Absurd
1397:The Theatre of the Absurd
974:and performed by Pinter,
931:Le CimetiĂšre des voitures
846:Picnic on the Battlefield
231:Elizabethan â tragicomedy
168:The Theatre of the Absurd
161:
6308:Concepts in epistemology
4515:EugĂšne Ionesco Revisited
4513:Gaensbauer, Deborah B.
4510:. London: Pelican, 1980.
4397:New York: Grove P, 2004.
3662:Edward Albee: A Casebook
3354:Watt and Richardson 1154
3345:Ionesco in Esslin, p. 23
2239:Makers of modern culture
1651:The Absurd in Literature
970:, 2001) was directed by
704:José de Almada Negreiros
638:; in the United States,
166:In the first edition of
136:and the concept of the "
6353:Types of existentialism
6318:Existentialist concepts
6313:Concepts in metaphysics
5706:Theatre of ancient Rome
4859:Experimental literature
4087:Stephen James Bottoms.
3703:Leonard Cabell Pronko.
3498:Leonard Cabell Pronko.
3390:. Da Capo Press, 1999.
3072:Plunka, pp. 29, 30, 309
2642:. Da Capo Press, 1997.
2463:. Da Capo Press, 1999.
2350:. Da Capo Press, 1998.
2202:. Da Capo Press, 1998.
1939:Deborah B. Gaensbauer.
1589:Felicia Hardison Londré
1476:. Vintage (May 7, 1991)
1395:Esslin, Martin (1961).
1362:The Tulane Drama Review
1356:Esslin, Martin (1960).
1206:
851:Pique-nique en campagne
748:Théùtre des Noctambules
398:The Breasts of Tiresias
360:of playwrights such as
6303:Concepts in aesthetics
5125:Second Viennese School
4756:Neue Slowenische Kunst
4627:Abstract expressionism
4323:Katherine H. Burkman.
4029:Katherine H. Burkman.
3440:Katherine H. Burkman.
2369:Fragments of a Journal
2302:Beckett and aesthetics
1918:Rupert D. V. Glasgow.
1115:is typical of Pinter:
464:Theatre and its Double
298:Formal experimentation
159:
49:
37:
6333:Postmodern literature
6293:Theatre of the Absurd
5913:Theatre of the Absurd
5232:Theatre of the Absurd
5155:Twelve-tone technique
5034:Electroacoustic music
4466:. Touchstone, 1995.
3969:. Grove Press, 1982.
3865:. Grove Press, 1994.
3469:Roger Alan Crockett.
3270:. Grove Press, 2004.
2943:Pinter in the theatre
2764:William M. Hutchins.
2566:David Thatcher Gies.
2329:. Grove Press, 1962.
1995:Stories & remarks
1737:. Grove Press, 1964.
1707:. Grove Press, 1958.
1269:, for example, or in
938:Issam Mahfouz's play
834:On October 28, 1959,
676:Wolfgang Hildesheimer
513:Being and Nothingness
393:Guillaume Apollinaire
149:
147:(1965), Esslin wrote:
114:, in his 1942 essay "
42:theatre of the absurd
22:
5888:Shakespearean comedy
5686:Ancient Greek comedy
5217:Postdramatic theatre
5202:Experimental theatre
4739:Multidimensional art
4528:La Nouvelle Critique
4448:Bennett, Michael Y.
4434:Bennett, Michael Y.
4348:.Grove Press, 1958.
3716:Jeanette R. Malkin.
3208:10.1162/PAJJ_a_00249
2743:Marshall Cavendish.
2126:Esslin, pp. 372â375.
1074:or Hamm and Clov in
1029:Friedrich DĂŒrrenmatt
926:Automobile Graveyard
744:La Cantatrice Chauve
733:) premiered in 1947.
611:Alejandro Jodorowsky
437:Theatre Alfred Jarry
311:; Polish playwright
204:Friedrich DĂŒrrenmatt
50:théùtre de l'absurde
4719:Lyrical Abstraction
4551:. Oxford UP, 1977.
4540:McMahon, Joseph H.
4298:. NUS Press, 1993.
4247:. Routledge, 2002.
3986:Claude Schumacher.
3882:Raymond Williams. "
3784:. Routledge, 1983.
3752:The Death of Comedy
3524:Robert B. Heilman.
2932:Plunka, pp. 29, 309
2915:. Routledge, 1997.
2702:. CRC Press, 2006.
2380:Rosette C. Lamont.
2241:. Routledge, 2002.
2181:. Routledge, 1995.
1981:Esslin, pp. 346â348
1832:Esslin, pp. 365â368
1781:Esslin, pp. 382â385
1772:Esslin, pp. 330â331
1724:Esslin, pp. 321â323
1673:Esslin, pp. 323â324
1591:, Margot Berthold.
1461:Le Mythe de Sisyphe
1418:CulĂk, Jan (2000).
987:Theatrical features
853:) came out in 1958.
777:Théùtre de Babylone
684:Mohit Chattopadhyay
356:presupposed by the
331:techniques in his "
247:William Shakespeare
5876:Comédie larmoyante
5871:Sentimental comedy
5866:Restoration comedy
5829:Commedia dell'arte
5701:Corral de comedias
5332:Postmodernist film
5237:Theatre of Cruelty
5120:Rock in Opposition
5061:Free improvisation
4704:Post-Impressionism
4637:Art & Language
4477:Caselli, Daniela.
4058:Marc Silverstein.
4020:Kane, pp. 132, 134
3907:Marc Silverstein.
3886:: Harold Pinter".
3884:The Birthday Party
3005:Barbara Lee Horn.
2851:.Routledge, 2000.
2629:Stevenson, p. 358.
2549:. ABC-CLIO, 2005.
2262:.Routledge, 1993.
2117:Saddik, pp. 24â27.
1815:. Routledge, 1995.
1620:Barbara Lee Horn.
1234:A Delicate Balance
1221:The Birthday Party
1167:Stanley: Nothing.
1153:The Birthday Party
1099:Theatre de Chambre
819:The Birthday Party
670:; and in Germany,
564:Les Temps Modernes
459:Theatre of Cruelty
382:plays-within-plays
266:Commedia dell'arte
239:. As Nell says in
38:
30:Festival d'Avignon
6348:Theatrical genres
6328:Modernist theatre
6298:Absurdist fiction
6280:
6279:
6058:Musical comedians
6021:
6020:
5819:Comedy of manners
5814:Comedy of humours
5804:Boulevard theatre
5792:
5791:
5696:Comédie-Italienne
5691:Comédie-Française
5658:
5657:
5384:
5383:
5374:Russian symbolism
5359:Socialist realism
5197:Experimental film
5163:
5162:
4869:Hungry generation
4844:Conceptual poetry
4699:Neo-Impressionism
4547:Mercier, Vivian.
4499:Driver, Tom Faw.
4492:Cronin, Anthony.
4444:978-0-230-11338-1
4429:978-1-58456-156-9
4366:Andrew K. Kennedy
4312:978-9971-69-182-0
4223:978-0-472-11190-9
4076:978-0-8387-5236-4
4047:978-0-8142-0146-6
3954:978-0-8387-5101-5
3925:978-0-8387-5236-4
3611:978-0-87249-686-6
3542:978-0-8203-3265-9
3487:978-1-57003-213-4
3458:978-0-8142-0146-6
3309:Norrish, pp. 2â8.
3236:Knowlson, p. 741.
3172:Anthony Jenkins.
2787:Theater in Israel
2659:C. W. E. Bigsby.
2450:Knowlson, p. 325.
2428:Claude Bonnefoy.
2300:Daniel Albright.
2219:Lamont, pp. 41â42
2040:978-0-87923-980-0
2011:978-0-8032-8852-2
1743:978-0-394-17198-2
1638:978-0-313-31141-3
1609:978-0-8264-1167-9
1574:978-0-226-17426-6
1545:978-1-84046-241-8
1072:Waiting for Godot
1063:Waiting for Godot
962:Velvet Revolution
837:Krapp's Last Tape
797:In 1957, Genet's
772:Waiting for Godot
718:Major productions
688:Mahesh Elkunchwar
682:. In India, both
485:performed at the
337:August Strindberg
67:absurdist fiction
25:Waiting for Godot
6360:
6343:Surrealist plays
6270:
6260:
6259:
6207:Self-referential
5824:Comedy of menace
5676:
5675:
5669:
5668:
5532:
5531:
5411:
5404:
5397:
5388:
5387:
5278:Russian Futurism
5222:Remodernist film
5140:Stochastic music
5095:Musique concrĂšte
5073:Microtonal music
5051:Experimental pop
5044:Industrial music
5039:Electronic music
4944:
4943:
4766:Nouveau réalisme
4674:Grosvenor School
4605:
4598:
4591:
4582:
4581:
4506:Esslin, Martin.
4381:
4363:
4357:
4344:Samuel Beckett.
4342:
4336:
4321:
4315:
4292:
4286:
4273:June Schlueter.
4271:
4265:
4262:
4256:
4241:
4235:
4232:
4226:
4211:
4205:
4190:
4184:
4169:
4163:
4148:
4142:
4127:
4121:
4106:
4100:
4085:
4079:
4056:
4050:
4027:
4021:
4018:
4012:
3997:
3991:
3984:
3978:
3965:EugĂšne Ionesco.
3963:
3957:
3936:Richard Hornby.
3934:
3928:
3905:
3899:
3880:
3874:
3859:
3853:
3838:
3832:
3817:
3811:
3808:
3802:
3801:Kane, pp. 17, 19
3799:
3793:
3778:
3772:
3769:
3763:
3748:
3742:
3735:
3729:
3714:
3708:
3701:
3695:
3680:
3674:
3671:
3665:
3658:
3652:
3637:
3628:
3625:
3614:
3591:
3585:
3582:
3576:
3571:Victor L. Cahn.
3569:
3563:
3556:
3545:
3522:
3516:
3509:
3503:
3496:
3490:
3467:
3461:
3438:
3432:
3429:
3420:
3405:
3399:
3384:
3378:
3377:
3370:
3364:
3361:
3355:
3352:
3346:
3343:
3337:
3334:
3328:
3325:
3319:
3316:
3310:
3307:
3301:
3298:
3292:
3285:
3279:
3264:
3258:
3243:
3237:
3234:
3228:
3227:
3191:
3185:
3170:
3164:
3149:
3143:
3142:
3136:
3128:
3118:
3112:
3097:
3091:
3090:Graver, p. xviii
3088:
3082:
3079:
3073:
3070:
3064:
3057:
3051:
3036:
3027:
3024:
3018:
3003:
2994:
2993:Smith, pp. 28â29
2991:
2985:
2984:
2978:
2970:
2960:
2954:
2939:
2933:
2930:
2924:
2909:
2903:
2900:
2894:
2887:
2881:
2868:Gene A. Plunka.
2866:
2860:
2845:
2839:
2837:Mikhail Volokhov
2834:
2828:
2813:
2807:
2804:
2798:
2783:
2777:
2762:
2756:
2741:
2732:
2717:
2711:
2696:
2690:
2687:
2681:
2678:
2672:
2657:
2651:
2636:
2630:
2627:
2621:
2606:
2600:
2585:
2579:
2564:
2558:
2543:
2537:
2522:
2493:
2478:
2472:
2457:
2451:
2448:
2442:
2441:Knowlson, p. 319
2439:
2433:
2426:
2420:
2417:
2411:
2408:
2402:
2399:
2393:
2378:
2372:
2367:EugĂšne Ionesco.
2365:
2359:
2346:EugĂšne Ionesco.
2344:
2338:
2319:
2313:
2298:
2292:
2279:James Knowlson.
2277:
2271:
2256:
2250:
2235:
2229:
2226:
2220:
2217:
2211:
2198:EugĂšne Ionesco.
2196:
2190:
2175:
2169:
2154:
2148:
2133:
2127:
2124:
2118:
2115:
2109:
2102:
2096:
2089:
2083:
2082:
2080:
2078:
2067:
2061:
2058:
2052:
2049:
2043:
2020:
2014:
1991:
1982:
1979:
1973:
1958:
1952:
1937:
1931:
1916:
1907:
1900:
1887:
1884:
1878:
1863:
1857:
1842:
1833:
1830:
1824:
1809:
1803:
1788:
1782:
1779:
1773:
1770:
1764:
1761:
1755:
1752:
1746:
1731:
1725:
1722:
1716:
1703:Samuel Beckett.
1701:
1695:
1680:
1674:
1671:
1662:
1647:
1641:
1618:
1612:
1586:
1577:
1554:
1548:
1525:
1519:
1512:
1503:
1496:
1485:
1470:
1464:
1457:
1451:
1450:
1434:
1428:
1427:
1415:
1409:
1408:
1392:
1386:
1385:
1353:
1347:
1341:
1311:. In Stoppard's
1217:The Bald Soprano
1107:The Bald Soprano
1103:The Bald Soprano
976:Sir John Gielgud
936:Lebanese author
793:
739:The Bald Soprano
708:Yordan Radichkov
656:Tadeusz RĂłĆŒewicz
615:Fernando Arrabal
544:
508:Jean-Paul Sartre
487:Cabaret Voltaire
461:" (presented in
344:Luigi Pirandello
276:artists such as
208:Fernando Arrabal
125:The Bald Soprano
116:Myth of Sisyphus
56:
6368:
6367:
6363:
6362:
6361:
6359:
6358:
6357:
6283:
6282:
6281:
6276:
6248:
6113:
6095:Animated sitcom
6017:
5983:Musical theatre
5933:
5927:
5903:Stand-up comedy
5849:One-person show
5839:Improvisational
5788:
5710:
5654:
5608:Science fiction
5561:
5521:
5442:Comedy festival
5420:
5415:
5385:
5380:
5241:
5227:Structural film
5169:
5159:
5014:Aleatoric music
5002:
4933:
4821:
4815:
4776:Performance art
4615:
4609:
4549:Beckett/Beckett
4533:Lewis, Allan.
4413:British Library
4390:
4388:Further reading
4385:
4384:
4364:
4360:
4343:
4339:
4322:
4318:
4293:
4289:
4272:
4268:
4264:Pronko, p. 157.
4263:
4259:
4243:Justin Wintle.
4242:
4238:
4233:
4229:
4215:A Beckett Canon
4212:
4208:
4191:
4187:
4170:
4166:
4149:
4145:
4128:
4124:
4107:
4103:
4086:
4082:
4057:
4053:
4028:
4024:
4019:
4015:
3998:
3994:
3985:
3981:
3964:
3960:
3935:
3931:
3906:
3902:
3881:
3877:
3861:Harold Pinter.
3860:
3856:
3839:
3835:
3819:Harold Pinter.
3818:
3814:
3809:
3805:
3800:
3796:
3779:
3775:
3770:
3766:
3749:
3745:
3736:
3732:
3715:
3711:
3702:
3698:
3681:
3677:
3672:
3668:
3659:
3655:
3638:
3631:
3627:Hinden, p. 401.
3626:
3617:
3592:
3588:
3583:
3579:
3570:
3566:
3557:
3548:
3523:
3519:
3510:
3506:
3497:
3493:
3468:
3464:
3439:
3435:
3430:
3423:
3406:
3402:
3385:
3381:
3372:
3371:
3367:
3362:
3358:
3353:
3349:
3344:
3340:
3335:
3331:
3326:
3322:
3317:
3313:
3308:
3304:
3299:
3295:
3286:
3282:
3265:
3261:
3244:
3240:
3235:
3231:
3192:
3188:
3171:
3167:
3150:
3146:
3130:
3129:
3119:
3115:
3098:
3094:
3089:
3085:
3080:
3076:
3071:
3067:
3058:
3054:
3037:
3030:
3025:
3021:
3004:
2997:
2992:
2988:
2972:
2971:
2961:
2957:
2940:
2936:
2931:
2927:
2910:
2906:
2901:
2897:
2888:
2884:
2867:
2863:
2846:
2842:
2835:
2831:
2815:Anna Klobucka.
2814:
2810:
2805:
2801:
2785:Linda Ben-Zvi.
2784:
2780:
2763:
2759:
2742:
2735:
2718:
2714:
2697:
2693:
2688:
2684:
2680:Bigsby, p. 385.
2679:
2675:
2658:
2654:
2650:. pp. 123, 132.
2637:
2633:
2628:
2624:
2607:
2603:
2586:
2582:
2565:
2561:
2544:
2540:
2523:
2496:
2480:Peter Norrish.
2479:
2475:
2458:
2454:
2449:
2445:
2440:
2436:
2427:
2423:
2418:
2414:
2409:
2405:
2400:
2396:
2379:
2375:
2366:
2362:
2345:
2341:
2320:
2316:
2299:
2295:
2278:
2274:
2257:
2253:
2237:Justin Wintle.
2236:
2232:
2227:
2223:
2218:
2214:
2197:
2193:
2177:Richard Drain.
2176:
2172:
2155:
2151:
2134:
2130:
2125:
2121:
2116:
2112:
2103:
2099:
2091:Antonin Artaud
2090:
2086:
2076:
2074:
2068:
2064:
2060:Cornwell, p.170
2059:
2055:
2051:Esslin, p. 373.
2050:
2046:
2021:
2017:
1992:
1985:
1980:
1976:
1959:
1955:
1938:
1934:
1917:
1910:
1901:
1890:
1886:Worthen, p. 702
1885:
1881:
1864:
1860:
1843:
1836:
1831:
1827:
1811:John Freedman.
1810:
1806:
1790:Neil Cornwell.
1789:
1785:
1780:
1776:
1771:
1767:
1762:
1758:
1753:
1749:
1732:
1728:
1723:
1719:
1702:
1698:
1681:
1677:
1672:
1665:
1649:Neil Cornwell.
1648:
1644:
1619:
1615:
1587:
1580:
1555:
1551:
1527:Terry Hodgson.
1526:
1522:
1514:Martin Esslin,
1513:
1506:
1498:Martin Esslin,
1497:
1488:
1472:Camus, Albert.
1471:
1467:
1459:Camus, Albert.
1458:
1454:
1435:
1431:
1416:
1412:
1393:
1389:
1374:10.2307/1124873
1354:
1350:
1342:
1338:
1333:
1209:
1137:long speech in
1094:
1013:ĂŒbermarionettes
1002:
989:
980:Rebecca Pidgeon
967:Beckett on Film
960:after the 1989
779:
720:
692:Tawfiq el-Hakim
660:SĆawomir MroĆŒek
613:from Chile and
583:
534:
532:Claude Bonnefoy
504:
413:A precursor is
411:
364:. According to
315:; the Russians
300:
278:Charlie Chaplin
255:and Stoppard's
233:
228:
164:
92:
17:
12:
11:
5:
6366:
6356:
6355:
6350:
6345:
6340:
6335:
6330:
6325:
6320:
6315:
6310:
6305:
6300:
6295:
6278:
6277:
6275:
6274:
6264:
6253:
6250:
6249:
6247:
6246:
6241:
6236:
6231:
6230:
6229:
6219:
6214:
6209:
6204:
6199:
6194:
6189:
6184:
6179:
6170:
6165:
6159:
6154:
6149:
6144:
6139:
6134:
6129:
6123:
6121:
6115:
6114:
6112:
6111:
6110:
6109:
6108:
6107:
6102:
6097:
6087:
6082:
6072:
6067:
6062:
6061:
6060:
6055:
6050:
6045:
6040:
6029:
6027:
6023:
6022:
6019:
6018:
6016:
6015:
6010:
6005:
6000:
5995:
5990:
5985:
5980:
5975:
5970:
5965:
5963:Comédie-ballet
5960:
5959:
5958:
5953:
5943:
5937:
5935:
5929:
5928:
5926:
5925:
5920:
5915:
5910:
5908:Street theatre
5905:
5900:
5895:
5890:
5885:
5880:
5879:
5878:
5868:
5863:
5862:
5861:
5851:
5846:
5841:
5836:
5831:
5826:
5821:
5816:
5811:
5806:
5800:
5798:
5794:
5793:
5790:
5789:
5787:
5786:
5785:
5784:
5779:
5774:
5769:
5764:
5756:
5755:
5754:
5749:
5741:
5740:
5739:
5731:
5730:
5729:
5718:
5716:
5712:
5711:
5709:
5708:
5703:
5698:
5693:
5688:
5682:
5680:
5673:
5666:
5660:
5659:
5656:
5655:
5653:
5652:
5647:
5642:
5637:
5632:
5631:
5630:
5625:
5615:
5610:
5605:
5600:
5595:
5590:
5585:
5580:
5575:
5569:
5567:
5563:
5562:
5560:
5559:
5554:
5549:
5544:
5538:
5536:
5529:
5523:
5522:
5520:
5519:
5514:
5509:
5504:
5499:
5494:
5489:
5484:
5479:
5474:
5469:
5464:
5459:
5454:
5449:
5444:
5439:
5437:Comedic device
5434:
5428:
5426:
5422:
5421:
5414:
5413:
5406:
5399:
5391:
5382:
5381:
5379:
5378:
5377:
5376:
5366:
5361:
5356:
5354:Social realism
5351:
5346:
5341:
5339:Late modernism
5336:
5335:
5334:
5324:
5319:
5314:
5312:Neo-minimalism
5309:
5307:Postminimalism
5304:
5299:
5294:
5289:
5288:
5287:
5286:
5285:
5270:
5265:
5260:
5255:
5253:Constructivism
5249:
5247:
5243:
5242:
5240:
5239:
5234:
5229:
5224:
5219:
5214:
5212:Poetic realism
5209:
5207:Modernist film
5204:
5199:
5194:
5189:
5184:
5179:
5173:
5171:
5165:
5164:
5161:
5160:
5158:
5157:
5152:
5147:
5145:Textural music
5142:
5137:
5135:Spectral music
5132:
5127:
5122:
5117:
5112:
5107:
5102:
5100:New Complexity
5097:
5092:
5087:
5086:
5085:
5075:
5070:
5065:
5064:
5063:
5053:
5048:
5047:
5046:
5036:
5031:
5026:
5021:
5016:
5010:
5008:
5004:
5003:
5001:
5000:
4999:
4998:
4993:
4988:
4978:
4973:
4972:
4971:
4966:
4956:
4950:
4948:
4941:
4935:
4934:
4932:
4931:
4926:
4921:
4916:
4911:
4906:
4901:
4896:
4891:
4889:Neoavanguardia
4886:
4884:Language poets
4881:
4876:
4871:
4866:
4861:
4856:
4851:
4846:
4841:
4839:Asemic writing
4836:
4834:Angry Penguins
4831:
4825:
4823:
4817:
4816:
4814:
4813:
4808:
4803:
4798:
4793:
4788:
4783:
4778:
4773:
4768:
4763:
4758:
4753:
4752:
4751:
4741:
4736:
4731:
4726:
4721:
4716:
4711:
4706:
4701:
4696:
4691:
4686:
4681:
4676:
4671:
4670:
4669:
4659:
4654:
4649:
4647:Constructivism
4644:
4642:Conceptual art
4639:
4634:
4629:
4623:
4621:
4617:
4616:
4608:
4607:
4600:
4593:
4585:
4579:
4578:
4571:
4568:The Explicator
4562:Youngberg, Q.
4560:
4545:
4538:
4531:
4525:
4524:. Vol. 34 (2).
4518:
4511:
4504:
4497:
4490:
4475:
4462:Brook, Peter.
4460:
4458:978-1107635517
4446:
4432:
4411:. London: The
4405:
4398:
4389:
4386:
4383:
4382:
4370:Samuel Beckett
4358:
4337:
4316:
4287:
4266:
4257:
4236:
4234:Lamont, p. 101
4227:
4206:
4185:
4164:
4150:Alice Rayner.
4143:
4122:
4108:Edward Albee.
4101:
4080:
4051:
4022:
4013:
3999:Sydney Homan.
3992:
3979:
3958:
3929:
3900:
3875:
3854:
3840:David Bradby.
3833:
3812:
3803:
3794:
3773:
3764:
3743:
3730:
3709:
3696:
3675:
3666:
3653:
3629:
3615:
3586:
3577:
3564:
3546:
3544:. pp. 170â171.
3517:
3511:Harold Bloom.
3504:
3491:
3462:
3433:
3431:Esslin, p. 402
3421:
3400:
3379:
3365:
3356:
3347:
3338:
3329:
3320:
3311:
3302:
3293:
3280:
3259:
3245:Enoch Brater.
3238:
3229:
3186:
3165:
3144:
3113:
3092:
3083:
3081:Lamont, p. 275
3074:
3065:
3052:
3028:
3019:
2995:
2986:
2955:
2934:
2925:
2904:
2895:
2882:
2880:. pp. 29, 304.
2861:
2840:
2829:
2808:
2799:
2778:
2757:
2733:
2719:Robert Cohen.
2712:
2691:
2682:
2673:
2652:
2631:
2622:
2601:
2580:
2559:
2538:
2494:
2473:
2452:
2443:
2434:
2421:
2419:Lamont, p. 67.
2412:
2410:Lewis, p. 275.
2403:
2394:
2373:
2360:
2339:
2314:
2293:
2272:
2251:
2230:
2221:
2212:
2191:
2189:. pp. 5â7, 26.
2170:
2149:
2128:
2119:
2110:
2097:
2084:
2062:
2053:
2044:
2022:David Bellos.
2015:
1983:
1974:
1953:
1932:
1908:
1888:
1879:
1858:
1834:
1825:
1804:
1783:
1774:
1765:
1763:Esslin, p. 325
1756:
1747:
1726:
1717:
1696:
1675:
1663:
1642:
1613:
1578:
1549:
1520:
1504:
1486:
1465:
1452:
1429:
1426:on 2009-08-23.
1410:
1387:
1348:
1335:
1334:
1332:
1329:
1252:
1251:
1248:
1245:
1242:
1229:The Homecoming
1208:
1205:
1204:
1203:
1200:
1197:
1184:
1183:
1180:
1177:
1174:
1171:
1168:
1165:
1148:
1147:
1134:
1133:
1130:
1127:
1120:
1093:
1090:
1088:for example).
1001:
998:
988:
985:
984:
983:
958:Czechoslovakia
944:
934:
921:
914:
901:
897:The Homecoming
892:
883:
874:
867:
854:
841:
832:
823:
808:
795:
767:
758:) in 1951 and
734:
719:
716:
664:Tadeusz Kantor
632:James Saunders
591:Quartier Latin
582:
579:
559:Damned to Fame
503:
500:
441:Antonin Artaud
410:
407:
370:Six Characters
325:Bertolt Brecht
323:, and others;
321:Nikolai Erdman
299:
296:
232:
229:
227:
224:
188:EugĂšne Ionesco
180:Samuel Beckett
172:Albert Camus's
163:
160:
155:
138:well-made play
108:EugĂšne Ionesco
100:Samuel Beckett
91:
88:
75:existentialism
15:
9:
6:
4:
3:
2:
6365:
6354:
6351:
6349:
6346:
6344:
6341:
6339:
6336:
6334:
6331:
6329:
6326:
6324:
6321:
6319:
6316:
6314:
6311:
6309:
6306:
6304:
6301:
6299:
6296:
6294:
6291:
6290:
6288:
6273:
6269:
6265:
6263:
6255:
6254:
6251:
6245:
6242:
6240:
6239:Ventriloquism
6237:
6235:
6232:
6228:
6225:
6224:
6223:
6220:
6218:
6215:
6213:
6210:
6208:
6205:
6203:
6200:
6198:
6195:
6193:
6192:Observational
6190:
6188:
6185:
6183:
6180:
6178:
6174:
6171:
6169:
6166:
6163:
6160:
6158:
6155:
6153:
6150:
6148:
6145:
6143:
6140:
6138:
6135:
6133:
6130:
6128:
6125:
6124:
6122:
6120:
6116:
6106:
6103:
6101:
6098:
6096:
6093:
6092:
6091:
6088:
6086:
6083:
6081:
6078:
6077:
6076:
6073:
6071:
6068:
6066:
6063:
6059:
6056:
6054:
6051:
6049:
6046:
6044:
6041:
6039:
6036:
6035:
6034:
6031:
6030:
6028:
6024:
6014:
6011:
6009:
6006:
6004:
6003:Opéra comique
6001:
5999:
5996:
5994:
5993:Opéra bouffon
5991:
5989:
5986:
5984:
5981:
5979:
5976:
5974:
5971:
5969:
5966:
5964:
5961:
5957:
5954:
5952:
5951:Café-chantant
5949:
5948:
5947:
5944:
5942:
5939:
5938:
5936:
5930:
5924:
5921:
5919:
5916:
5914:
5911:
5909:
5906:
5904:
5901:
5899:
5896:
5894:
5893:Sketch comedy
5891:
5889:
5886:
5884:
5881:
5877:
5874:
5873:
5872:
5869:
5867:
5864:
5860:
5857:
5856:
5855:
5852:
5850:
5847:
5845:
5842:
5840:
5837:
5835:
5832:
5830:
5827:
5825:
5822:
5820:
5817:
5815:
5812:
5810:
5807:
5805:
5802:
5801:
5799:
5795:
5783:
5780:
5778:
5775:
5773:
5770:
5768:
5765:
5763:
5760:
5759:
5757:
5753:
5750:
5748:
5745:
5744:
5742:
5738:
5735:
5734:
5732:
5728:
5725:
5724:
5723:
5720:
5719:
5717:
5713:
5707:
5704:
5702:
5699:
5697:
5694:
5692:
5689:
5687:
5684:
5683:
5681:
5677:
5674:
5670:
5667:
5665:
5661:
5651:
5648:
5646:
5643:
5641:
5638:
5636:
5633:
5629:
5626:
5624:
5621:
5620:
5619:
5616:
5614:
5611:
5609:
5606:
5604:
5601:
5599:
5596:
5594:
5591:
5589:
5586:
5584:
5581:
5579:
5576:
5574:
5571:
5570:
5568:
5564:
5558:
5555:
5553:
5550:
5548:
5545:
5543:
5540:
5539:
5537:
5533:
5530:
5528:
5524:
5518:
5515:
5513:
5510:
5508:
5505:
5503:
5500:
5498:
5495:
5493:
5490:
5488:
5485:
5483:
5480:
5478:
5477:Impressionist
5475:
5473:
5470:
5468:
5465:
5463:
5460:
5458:
5455:
5453:
5450:
5448:
5447:Comedy troupe
5445:
5443:
5440:
5438:
5435:
5433:
5430:
5429:
5427:
5423:
5419:
5412:
5407:
5405:
5400:
5398:
5393:
5392:
5389:
5375:
5372:
5371:
5370:
5367:
5365:
5362:
5360:
5357:
5355:
5352:
5350:
5347:
5345:
5342:
5340:
5337:
5333:
5330:
5329:
5328:
5327:Postmodernism
5325:
5323:
5320:
5318:
5315:
5313:
5310:
5308:
5305:
5303:
5300:
5298:
5295:
5293:
5290:
5284:
5283:Cubo-Futurism
5281:
5280:
5279:
5276:
5275:
5274:
5271:
5269:
5266:
5264:
5263:Expressionism
5261:
5259:
5256:
5254:
5251:
5250:
5248:
5244:
5238:
5235:
5233:
5230:
5228:
5225:
5223:
5220:
5218:
5215:
5213:
5210:
5208:
5205:
5203:
5200:
5198:
5195:
5193:
5190:
5188:
5185:
5183:
5180:
5178:
5175:
5174:
5172:
5166:
5156:
5153:
5151:
5148:
5146:
5143:
5141:
5138:
5136:
5133:
5131:
5128:
5126:
5123:
5121:
5118:
5116:
5113:
5111:
5108:
5106:
5103:
5101:
5098:
5096:
5093:
5091:
5090:Music theatre
5088:
5084:
5081:
5080:
5079:
5078:Minimal music
5076:
5074:
5071:
5069:
5066:
5062:
5059:
5058:
5057:
5054:
5052:
5049:
5045:
5042:
5041:
5040:
5037:
5035:
5032:
5030:
5027:
5025:
5024:Ars subtilior
5022:
5020:
5017:
5015:
5012:
5011:
5009:
5005:
4997:
4994:
4992:
4989:
4987:
4984:
4983:
4982:
4979:
4977:
4974:
4970:
4967:
4965:
4962:
4961:
4960:
4957:
4955:
4952:
4951:
4949:
4945:
4942:
4940:
4936:
4930:
4927:
4925:
4924:Visual poetry
4922:
4920:
4917:
4915:
4912:
4910:
4907:
4905:
4902:
4900:
4899:Nouveau roman
4897:
4895:
4892:
4890:
4887:
4885:
4882:
4880:
4877:
4875:
4872:
4870:
4867:
4865:
4862:
4860:
4857:
4855:
4852:
4850:
4847:
4845:
4842:
4840:
4837:
4835:
4832:
4830:
4827:
4826:
4824:
4818:
4812:
4809:
4807:
4806:Temporary art
4804:
4802:
4799:
4797:
4794:
4792:
4789:
4787:
4784:
4782:
4779:
4777:
4774:
4772:
4769:
4767:
4764:
4762:
4761:Nonconformism
4759:
4757:
4754:
4750:
4747:
4746:
4745:
4744:Neoplasticism
4742:
4740:
4737:
4735:
4734:Mir iskusstva
4732:
4730:
4727:
4725:
4722:
4720:
4717:
4715:
4712:
4710:
4707:
4705:
4702:
4700:
4697:
4695:
4694:Impressionism
4692:
4690:
4687:
4685:
4682:
4680:
4677:
4675:
4672:
4668:
4665:
4664:
4663:
4662:Functionalism
4660:
4658:
4655:
4653:
4650:
4648:
4645:
4643:
4640:
4638:
4635:
4633:
4630:
4628:
4625:
4624:
4622:
4618:
4613:
4606:
4601:
4599:
4594:
4592:
4587:
4586:
4583:
4576:
4572:
4569:
4565:
4561:
4558:
4557:0-19-281269-6
4554:
4550:
4546:
4543:
4539:
4536:
4532:
4529:
4526:
4523:
4519:
4516:
4512:
4509:
4505:
4502:
4498:
4495:
4491:
4488:
4487:0-7190-7156-9
4484:
4480:
4476:
4473:
4472:0-684-82957-6
4469:
4465:
4461:
4459:
4455:
4451:
4447:
4445:
4441:
4437:
4433:
4430:
4426:
4422:
4421:1-58456-156-4
4418:
4414:
4410:
4406:
4403:
4399:
4396:
4392:
4391:
4379:
4378:0-521-27488-5
4375:
4371:
4367:
4362:
4355:
4354:0-8021-5024-1
4351:
4347:
4341:
4334:
4333:0-8386-3299-8
4330:
4326:
4320:
4313:
4309:
4305:
4304:9971-69-182-5
4301:
4297:
4291:
4284:
4283:0-231-04752-5
4280:
4276:
4270:
4261:
4254:
4253:0-415-26583-5
4250:
4246:
4240:
4231:
4225:pp. 298, 337.
4224:
4220:
4216:
4210:
4203:
4202:0-87249-686-4
4199:
4195:
4189:
4182:
4181:0-8142-0334-5
4178:
4174:
4168:
4161:
4160:0-8166-4544-2
4157:
4153:
4147:
4140:
4139:0-253-33847-6
4136:
4132:
4126:
4119:
4118:0-573-60792-3
4115:
4111:
4105:
4098:
4097:0-521-83455-4
4094:
4090:
4084:
4077:
4073:
4069:
4068:0-8387-5236-5
4065:
4061:
4055:
4048:
4044:
4040:
4039:0-8142-0146-6
4036:
4032:
4026:
4017:
4010:
4009:0-8387-5064-8
4006:
4002:
3996:
3989:
3983:
3976:
3975:0-8021-3079-8
3972:
3968:
3962:
3955:
3951:
3947:
3946:0-8387-5101-6
3943:
3939:
3933:
3926:
3922:
3918:
3917:0-8387-5236-5
3914:
3910:
3904:
3897:
3896:0-87754-706-8
3893:
3889:
3885:
3879:
3872:
3871:0-8021-5114-0
3868:
3864:
3858:
3851:
3850:0-521-59510-X
3847:
3843:
3837:
3830:
3826:
3822:
3821:The Caretaker
3816:
3810:Saddik, p. 32
3807:
3798:
3791:
3790:0-416-31710-3
3787:
3783:
3782:Harold Pinter
3777:
3771:Saddik, p. 30
3768:
3761:
3760:0-674-01247-X
3757:
3753:
3750:Erich Segal.
3747:
3740:
3734:
3727:
3726:0-521-38335-8
3723:
3719:
3713:
3706:
3700:
3693:
3692:0-87805-342-5
3689:
3685:
3679:
3673:Esslin, p. 26
3670:
3663:
3657:
3651:. pp. 159â160
3650:
3649:0-8386-3187-8
3646:
3642:
3639:Leslie Kane.
3636:
3634:
3624:
3622:
3620:
3612:
3608:
3604:
3603:0-87249-686-4
3600:
3596:
3590:
3581:
3574:
3568:
3561:
3555:
3553:
3551:
3543:
3539:
3535:
3534:0-8203-3265-8
3531:
3527:
3521:
3514:
3508:
3501:
3495:
3488:
3484:
3480:
3479:1-57003-213-0
3476:
3472:
3466:
3459:
3455:
3451:
3450:0-8142-0146-6
3447:
3443:
3437:
3428:
3426:
3418:
3417:0-521-40843-1
3414:
3410:
3407:Dave Bradby.
3404:
3397:
3396:0-306-80898-6
3393:
3389:
3383:
3375:
3369:
3363:Lamont, p. 72
3360:
3351:
3342:
3336:Esslin, p. 21
3333:
3327:Esslin, p. 20
3324:
3318:Esslin, p. 24
3315:
3306:
3300:Saddik, p. 29
3297:
3290:
3284:
3277:
3276:0-8021-4049-1
3273:
3269:
3263:
3256:
3255:0-19-506655-3
3252:
3248:
3242:
3233:
3225:
3221:
3217:
3213:
3209:
3205:
3201:
3197:
3190:
3183:
3182:0-521-37974-1
3179:
3175:
3169:
3162:
3161:0-8264-0963-6
3158:
3154:
3148:
3140:
3134:
3126:
3122:
3117:
3110:
3109:0-521-65842-X
3106:
3102:
3096:
3087:
3078:
3069:
3062:
3056:
3049:
3048:0-7190-6184-9
3045:
3041:
3035:
3033:
3023:
3016:
3015:0-313-31141-2
3012:
3008:
3002:
3000:
2990:
2982:
2976:
2968:
2964:
2959:
2952:
2951:1-85459-864-3
2948:
2944:
2938:
2929:
2922:
2921:0-415-15954-7
2918:
2914:
2908:
2899:
2892:
2889:Allan Lewis.
2886:
2879:
2878:0-8386-3461-3
2875:
2871:
2865:
2858:
2857:90-5755-054-7
2854:
2850:
2844:
2838:
2833:
2826:
2825:0-8387-5465-1
2822:
2818:
2812:
2803:
2796:
2795:0-472-10607-4
2792:
2788:
2782:
2775:
2774:0-89410-885-9
2771:
2767:
2761:
2754:
2753:0-7614-7631-8
2750:
2746:
2740:
2738:
2730:
2729:0-87249-898-0
2726:
2722:
2716:
2709:
2708:1-57958-390-3
2705:
2701:
2695:
2689:Cody, p. 1343
2686:
2677:
2670:
2669:0-521-79410-2
2666:
2662:
2656:
2649:
2648:0-306-80770-X
2645:
2641:
2635:
2626:
2619:
2618:0-19-818423-9
2615:
2611:
2605:
2598:
2597:0-231-14424-5
2594:
2590:
2584:
2577:
2576:0-521-57429-3
2573:
2569:
2563:
2556:
2555:1-85109-411-3
2552:
2548:
2542:
2535:
2534:0-8264-1167-3
2531:
2527:
2521:
2519:
2517:
2515:
2513:
2511:
2509:
2507:
2505:
2503:
2501:
2499:
2491:
2490:0-389-20746-2
2487:
2483:
2477:
2470:
2469:0-306-80898-6
2466:
2462:
2456:
2447:
2438:
2431:
2425:
2416:
2407:
2398:
2391:
2390:0-472-10310-5
2387:
2383:
2377:
2370:
2364:
2357:
2356:0-306-80835-8
2353:
2349:
2343:
2336:
2335:0-8021-5056-X
2332:
2328:
2324:
2318:
2311:
2310:0-521-82908-9
2307:
2303:
2297:
2290:
2289:0-7475-3169-2
2286:
2282:
2276:
2269:
2268:0-415-06518-6
2265:
2261:
2258:C. D. Innes.
2255:
2248:
2247:0-415-26583-5
2244:
2240:
2234:
2228:Esslin, p. 89
2225:
2216:
2209:
2208:0-306-80835-8
2205:
2201:
2195:
2188:
2187:0-415-09619-7
2184:
2180:
2174:
2167:
2166:0-87745-817-0
2163:
2159:
2153:
2146:
2145:1-55783-311-7
2142:
2138:
2132:
2123:
2114:
2107:
2101:
2094:
2088:
2073:
2066:
2057:
2048:
2041:
2037:
2033:
2032:0-87923-980-8
2029:
2025:
2019:
2012:
2008:
2004:
2003:0-8032-8852-2
2000:
1996:
1990:
1988:
1978:
1971:
1970:0-8386-4007-9
1967:
1963:
1957:
1950:
1949:0-8057-8270-2
1946:
1942:
1936:
1929:
1928:0-8386-3559-8
1925:
1921:
1915:
1913:
1905:
1899:
1897:
1895:
1893:
1883:
1876:
1875:0-7486-2494-5
1872:
1868:
1862:
1855:
1854:0-521-09529-8
1851:
1847:
1844:J. L. Styan.
1841:
1839:
1829:
1822:
1818:
1814:
1808:
1801:
1800:0-7190-7410-X
1797:
1793:
1787:
1778:
1769:
1760:
1754:Styan, p. 126
1751:
1744:
1740:
1736:
1730:
1721:
1714:
1713:0-8021-5024-1
1710:
1706:
1700:
1693:
1692:0-521-29629-3
1689:
1685:
1682:J. L. Styan.
1679:
1670:
1668:
1660:
1659:0-7190-7410-X
1656:
1652:
1646:
1639:
1635:
1631:
1630:0-313-31141-2
1627:
1623:
1617:
1610:
1606:
1602:
1601:0-8264-1167-3
1598:
1594:
1590:
1585:
1583:
1575:
1571:
1567:
1566:0-226-17426-3
1563:
1559:
1553:
1546:
1542:
1538:
1537:1-84046-241-8
1534:
1530:
1524:
1517:
1511:
1509:
1501:
1495:
1493:
1491:
1483:
1482:9780679733737
1479:
1475:
1469:
1462:
1456:
1448:
1444:
1440:
1433:
1425:
1421:
1414:
1406:
1402:
1398:
1391:
1383:
1379:
1375:
1371:
1367:
1363:
1359:
1352:
1345:
1340:
1336:
1328:
1325:
1320:
1318:
1314:
1310:
1306:
1305:The Mousetrap
1302:
1298:
1294:
1290:
1285:
1283:
1282:
1276:
1274:
1273:
1268:
1267:
1261:
1257:
1249:
1246:
1243:
1240:
1239:
1238:
1236:
1235:
1230:
1226:
1225:The Caretaker
1222:
1218:
1214:
1201:
1198:
1194:
1193:
1192:
1190:
1181:
1178:
1175:
1172:
1169:
1166:
1163:
1162:
1161:
1159:
1158:non-sequiturs
1155:
1154:
1144:
1143:
1142:
1140:
1131:
1128:
1125:
1121:
1118:
1117:
1116:
1114:
1113:
1112:The Caretaker
1108:
1104:
1100:
1089:
1087:
1086:The Zoo Story
1083:
1082:
1077:
1073:
1069:
1065:
1064:
1057:
1055:
1054:
1049:
1045:
1041:
1040:
1034:
1030:
1026:
1020:
1018:
1014:
1010:
1009:
997:
995:
981:
977:
973:
969:
968:
963:
959:
955:
951:
950:
945:
942:
941:
935:
932:
928:
927:
922:
919:
915:
912:
908:
907:
902:
899:
898:
893:
890:
889:
884:
881:
880:
875:
872:
868:
865:
861:
860:
855:
852:
848:
847:
842:
839:
838:
833:
830:
829:
828:The Zoo Story
824:
821:
820:
815:
814:
809:
806:
802:
801:
796:
791:
787:
783:
778:
774:
773:
768:
765:
761:
757:
753:
749:
745:
741:
740:
735:
732:
728:
727:
722:
721:
715:
713:
709:
705:
701:
700:Miguel Mihura
698:from Israel;
697:
693:
689:
685:
681:
677:
673:
669:
665:
661:
657:
654:; in Poland,
653:
649:
645:
641:
637:
636:David Campton
633:
629:
628:N. F. Simpson
625:
621:
620:Harold Pinter
616:
612:
609:from Russia;
608:
607:Arthur Adamov
604:
600:
596:
592:
588:
578:
576:
572:
571:
566:
565:
560:
556:
551:
548:
542:
538:
533:
528:
524:
523:
517:
515:
514:
509:
499:
497:
493:
488:
484:
483:Tristan Tzara
480:
476:
472:
470:
466:
465:
460:
455:
453:
448:
446:
442:
439:, founded by
438:
434:
433:
428:
424:
420:
416:
406:
404:
400:
399:
394:
389:
387:
383:
379:
375:
371:
367:
366:W. B. Worthen
363:
359:
355:
351:
350:
346:, especially
345:
340:
338:
334:
330:
326:
322:
318:
317:Daniil Kharms
314:
310:
306:
305:Lewis Carroll
295:
293:
292:
287:
286:Buster Keaton
283:
282:Keystone Cops
279:
275:
271:
267:
262:
260:
259:
254:
253:
248:
244:
243:
238:
223:
221:
217:
213:
209:
205:
201:
197:
196:Harold Pinter
193:
189:
185:
184:Arthur Adamov
181:
176:
173:
169:
158:
153:
148:
146:
141:
139:
135:
131:
127:
126:
119:
117:
113:
109:
105:
104:Arthur Adamov
101:
97:
96:Martin Esslin
87:
85:
81:
76:
72:
68:
64:
60:
55:
51:
47:
43:
35:
34:Otomar KrejÄa
31:
27:
26:
21:
6100:Black sitcom
6080:Mockumentary
5988:Opéra bouffe
5956:Café-théùtre
5941:Ballad opera
5859:Harlequinade
5809:Comedy-drama
5588:Mockumentary
5472:Impersonator
5452:Comic timing
5192:Epic theatre
5029:Atonal music
4864:Flarf poetry
4854:Ego-Futurism
4652:Proto-Cubism
4574:
4567:
4563:
4548:
4541:
4534:
4527:
4521:
4514:
4507:
4500:
4493:
4478:
4463:
4449:
4435:
4408:
4401:
4394:
4369:
4361:
4345:
4340:
4324:
4319:
4295:
4290:
4274:
4269:
4260:
4244:
4239:
4230:
4214:
4209:
4193:
4192:Alan Astro.
4188:
4172:
4167:
4151:
4146:
4130:
4125:
4109:
4104:
4088:
4083:
4078:. pp. 76â94.
4059:
4054:
4030:
4025:
4016:
4000:
3995:
3987:
3982:
3966:
3961:
3956:. pp. 61â63.
3937:
3932:
3927:. pg. 33â34.
3908:
3903:
3887:
3883:
3878:
3862:
3857:
3841:
3836:
3823:. DPS, 1991.
3820:
3815:
3806:
3797:
3781:
3776:
3767:
3751:
3746:
3738:
3733:
3717:
3712:
3704:
3699:
3683:
3678:
3669:
3661:
3656:
3640:
3594:
3593:Alan Astro.
3589:
3580:
3572:
3567:
3559:
3525:
3520:
3512:
3507:
3499:
3494:
3470:
3465:
3460:. pp. 70â73.
3441:
3436:
3408:
3403:
3387:
3382:
3368:
3359:
3350:
3341:
3332:
3323:
3314:
3305:
3296:
3288:
3283:
3267:
3262:
3246:
3241:
3232:
3202:(1): 94â96.
3199:
3195:
3189:
3173:
3168:
3152:
3147:
3116:
3100:
3099:Peter Raby.
3095:
3086:
3077:
3068:
3060:
3055:
3039:
3026:Graver, xvii
3022:
3006:
2989:
2958:
2942:
2937:
2928:
2912:
2907:
2902:Lamont, p. 3
2898:
2890:
2885:
2869:
2864:
2848:
2843:
2832:
2816:
2811:
2806:Gies, p. 258
2802:
2786:
2781:
2765:
2760:
2744:
2731:. pp. 35â36.
2720:
2715:
2699:
2694:
2685:
2676:
2660:
2655:
2639:
2638:Don Shewey.
2634:
2625:
2609:
2604:
2588:
2583:
2567:
2562:
2546:
2541:
2525:
2481:
2476:
2460:
2455:
2446:
2437:
2429:
2424:
2415:
2406:
2397:
2381:
2376:
2368:
2363:
2347:
2342:
2326:
2322:
2317:
2301:
2296:
2280:
2275:
2259:
2254:
2238:
2233:
2224:
2215:
2199:
2194:
2178:
2173:
2157:
2152:
2136:
2135:Mel Gussow.
2131:
2122:
2113:
2105:
2100:
2092:
2087:
2075:. Retrieved
2065:
2056:
2047:
2023:
2018:
1994:
1977:
1961:
1956:
1940:
1935:
1919:
1903:
1882:
1866:
1861:
1845:
1828:
1812:
1807:
1791:
1786:
1777:
1768:
1759:
1750:
1745:. pp. 30â31.
1734:
1729:
1720:
1715:. pp. 18â19.
1704:
1699:
1683:
1678:
1650:
1645:
1621:
1616:
1592:
1557:
1552:
1528:
1523:
1515:
1499:
1473:
1468:
1460:
1455:
1439:Absurd Drama
1438:
1432:
1424:the original
1413:
1396:
1390:
1365:
1361:
1351:
1343:
1339:
1323:
1321:
1316:
1312:
1308:
1304:
1300:
1296:
1292:
1288:
1286:
1279:
1277:
1270:
1264:
1259:
1255:
1253:
1232:
1228:
1224:
1220:
1216:
1212:
1210:
1188:
1185:
1151:
1149:
1138:
1135:
1123:
1110:
1106:
1102:
1098:
1095:
1085:
1079:
1075:
1071:
1067:
1061:
1058:
1051:
1047:
1043:
1037:
1032:
1024:
1021:
1012:
1006:
1003:
993:
990:
965:
954:VĂĄclav Havel
947:
940:The Dictator
939:
930:
924:
917:
910:
904:
895:
886:
877:
870:
863:
857:
850:
844:
835:
826:
817:
811:
804:
798:
770:
763:
759:
755:
751:
743:
737:
730:
724:
712:VĂĄclav Havel
702:from Spain;
696:Hanoch Levin
694:from Egypt;
680:GĂŒnter Grass
668:Dino Buzzati
666:; in Italy,
640:Edward Albee
624:Tom Stoppard
599:Jean Tardieu
584:
568:
562:
558:
554:
552:
526:
520:
518:
511:
505:
496:André Breton
473:
462:
456:
449:
445:Roger Vitrac
430:
426:
423:'pataphysics
418:
415:Alfred Jarry
412:
396:
390:
369:
362:Henrik Ibsen
347:
341:
333:epic theatre
301:
289:
263:
256:
250:
240:
234:
220:Jean Tardieu
212:Edward Albee
200:Tom Stoppard
177:
167:
165:
150:
145:Absurd Drama
144:
142:
123:
120:
112:Albert Camus
93:
59:World War II
57:) is a postâ
41:
39:
23:
6168:Documentary
6164:(dry humor)
6127:Alternative
6105:Teen sitcom
5998:Opera buffa
5973:Light music
5968:Comedy club
5918:Tragicomedy
5883:Shadow play
5344:Primitivism
5170:and theatre
5110:Noise music
5083:Drone music
4914:Slam poetry
4801:Suprematism
4786:Process art
4714:Incoherents
4709:Color Field
4684:Divisionism
4632:Art Nouveau
4612:Avant-garde
4570:, (2), 108.
4213:Ruby Cohn.
4129:Les Essif.
4049:. pp. 76â89
3898:. p. 22â23.
3705:Avant-Garde
2776:. p. 1, 27.
2640:Sam Shepard
2156:Eli Rozik.
1960:Jill Fell.
1556:Joel Agee.
1368:(4): 3â15.
1293:The Balcony
972:David Mamet
949:Catastrophe
916:Stoppard's
800:The Balcony
780: [
764:Les Chaises
672:Peter Weiss
648:Jack Gelber
644:Sam Shepard
587:Rive Gauche
535: [
492:Paul Eluard
452:Qorpo-Santo
378:roleplaying
374:metatheatre
354:fourth wall
309:Edward Lear
237:tragicomedy
71:playwrights
6338:Surrealism
6287:Categories
6075:Television
5978:Music hall
5923:Vaudeville
5844:Macchietta
5834:Double act
5743:Indonesia
5737:Mo lei tau
5733:Hong Kong
5727:Xiangsheng
5598:Remarriage
5507:Visual gag
5497:Punch line
5492:Prank call
5364:Surrealism
5302:Minimalism
5177:Cinéma pur
4822:and poetry
4820:Literature
4729:Minimalism
4620:Visual art
4501:Jean Genet
3829:0822201844
3163:. p. xxvi.
2599:. p. 1285.
2557:. p. 1187.
2013:. pp. ixâx
1821:3718655837
1331:References
1313:Travesties
1256:The Chairs
1189:The Lesson
1081:The Lesson
1044:Rhinocéros
1039:The Killer
1033:The Visit,
1017:archetypal
1008:The Chairs
1000:Characters
946:Beckett's
923:Arrabal's
906:Marat/Sade
879:Happy Days
876:Beckett's
871:Rhinoceros
864:Les NĂšgres
859:The Blacks
843:Arrabal's
769:Beckett's
766:) in 1952.
760:The Chairs
752:The Lesson
736:Ionesco's
731:Les Bonnes
652:John Guare
603:Boris Vian
595:Jean Genet
527:Rhinoceros
522:Rhinoceros
469:surrealist
457:Artaud's "
329:distancing
294:in 1965.)
274:music hall
270:vaudeville
226:Precursors
216:Boris Vian
192:Jean Genet
130:vaudeville
80:irrational
6323:Metaphors
6222:Slapstick
6147:Christian
6142:Character
6119:Subgenres
5934:and dance
5854:Pantomime
5640:Slapstick
5613:Screwball
5517:Word play
5369:Symbolism
5297:Modernism
5130:Serialism
5115:Post-rock
5056:Free jazz
4964:Free funk
4919:UltraĂsmo
4874:Imaginism
4849:Cyberpunk
4811:Vorticism
4614:movements
4255:. p. 243.
4204:. p. 177.
4162:. p. 120.
4141:. pp. 1â9
4099:. p. 221.
4011:. p. 198.
3694:. p. 189.
3613:. p. 116.
3398:. p. 424.
3257:. p. 139.
3216:1520-281X
2953:. p. 169.
2797:. p. 151.
2755:. p. 408.
2620:. p. 356.
2536:. p. 428.
2471:. p. 231.
2392:. p. 145.
2270:. p. 118.
2210:. p. 148.
2168:. p. 264.
2147:. p. 303.
1930:. p. 332.
1856:. p. 217.
1802:. p. 143.
1661:. p. 280.
1447:748978381
1289:The Maids
1266:Footfalls
1005:Woman in
894:Pinter's
805:Le Balcon
794:in Paris.
726:The Maids
575:Heidegger
547:absurdity
475:Absurdism
90:Etymology
6262:Category
6197:Physical
6008:Operetta
5782:Sarugaku
5650:Thriller
5542:American
5462:Humorist
5432:Comedian
5317:Neo-Dada
5292:Lettrism
5273:Futurism
5187:Drop Art
5182:Dogme 95
5150:Totalism
5068:Futurism
5019:Ars nova
4947:By style
4894:Neoteric
4796:Rayonism
4749:De Stijl
4724:Mail art
4679:DevÄtsil
4380:. p. 48.
4335:. p. 24.
4285:. p. 53.
4120:. p. 31.
3977:. p. 67.
3873:. p. 51.
3852:, p. 81.
3792:. p. 37.
3728:. p. 40.
3558:Bradby,
3224:57570160
3184:. p. 37.
3133:cite web
3111:. p. xv.
3050:. p. 204
2975:cite web
2827:. p. 88.
2710:. p. 335
2671:. p. 124
2578:. p. 229
2492:. p. 107
2358:. p. 63.
2337:. p. 11.
2042:. p. 596
1694:, p. 125
1611:. p. 438
1547:. p.181.
1196:Romanian
1092:Language
1025:The Room
903:Weiss's
885:Albee's
856:Genet's
825:Albee's
813:The Room
756:La Leçon
723:Genet's
386:identity
6234:Surreal
6162:Deadpan
6048:Hip hop
5946:Cabaret
5672:Country
5664:Theatre
5628:Mexican
5623:Italian
5603:Romance
5578:Fantasy
5557:Italian
5547:British
5535:Country
5246:General
5105:No wave
4879:Imagism
4829:Acmeism
4781:Pop art
4771:Orphism
4689:Fauvism
4667:Bauhaus
4577:, 3(8).
4535:Ionesco
4423:(10).
4356:. p. 1.
3831:, p. 32
3762:p. 422.
3737:Styan,
3287:Styan,
3278:. p. 44
3059:Styan,
2923:. p. 88
2891:Ionesco
2859:. p. 34
2312:. p. 10
2291:, p. 65
2104:Styan,
2077:31 July
1972:. p. 53
1951:. p. 17
1877:. p. 28
1823:. xvii.
1576:. p. xi
1382:1124873
1324:Endgame
1076:Endgame
581:History
555:failure
479:Dadaism
403:surreal
358:realism
252:Macbett
242:Endgame
154:because
134:realism
94:Critic
84:silence
36:, 1978.
32:, dir.
6272:Portal
6244:Zombie
6227:Topics
6187:Insult
6182:Horror
6157:Cringe
6090:Sitcom
6053:Parody
5777:Rakugo
5772:Owarai
5767:Manzai
5762:KyĆgen
5758:Japan
5752:Ludruk
5747:Lenong
5679:Europe
5645:Stoner
5635:Silent
5593:Parody
5583:Horror
5573:Action
5552:French
5502:Satire
5467:Humour
5425:Topics
5418:Comedy
5322:Neoism
5268:Fluxus
5168:Cinema
5007:Others
4909:Oulipo
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4791:Purism
4657:Cubism
4555:
4485:
4470:
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3724:
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3560:Modern
3540:
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3485:
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3253:
3222:
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3063:p. 144
3061:Modern
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3017:. p. 2
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2949:
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2793:
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2245:
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2108:p. 128
2106:Modern
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650:, and
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570:Nausea
417:whose
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218:, and
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106:, and
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