Absurd theatre - Revision history

Satj: Replaced content with "#REDIRECT Theatre of the Absurd"

2024-12-12T06:31:32Z

Replaced content with "#REDIRECT Theatre of the Absurd"

Satj: Redirected page to Theatre of the Absurd

2024-12-12T06:30:34Z

Redirected page to Theatre of the Absurd

Satj at 06:29, 12 December 2024

2024-12-12T06:29:02Z

Miriamt at 14:35, 6 September 2012

2012-09-06T14:35:08Z

Centaps at 07:41, 30 July 2010

2010-07-30T07:41:23Z

Centaps at 07:31, 30 July 2010

2010-07-30T07:31:37Z

Centaps: Created page with 'In general terms this is the name coined by Martin Esslin to refer to works of theatre heavily influenced by the philosophical nihilism of Sarte, Camus and others, plays in which…'

2010-07-30T06:59:57Z

Created page with 'In general terms this is the name coined by Martin Esslin to refer to works of theatre heavily influenced by the philosophical nihilism of Sarte, Camus and others, plays in which…'

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In general terms this is the name coined by Martin Esslin to refer to works of theatre heavily influenced by the philosophical nihilism of Sarte, Camus and others, plays in which the focus is on the depiction of man cut off from his roots: religious, cultural, intellectual and existential. He appears lost in a universe that apparently makes no sense. Among the primary formal examples of "absurdist playwrights" are Samuel Beckett (e.g. Waiting for Godot), Eugene Ionesco (e.g. La cantratrice chauve/ The bald primadonna), Harold Pinter (The caretaker) and Edward Albee (e.g. Who's Afraid of Virginia Woolf). In South African drama the absurdity of the human condition features strongly in a wide range of plays from the 1960's onward, though not always as abstractly as in the case of the examples mentioned. See further [[Absurd theatre in South Africa]]

Return to [[South_African_Theatre/Themes|South African Theatre Terminology and Thematic Entries]]

Return to [[Main Page]]

← Older revision		Revision as of 06:31, 12 December 2024
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	#REDIRECT [[Theatre of the Absurd]]		#REDIRECT [[Theatre of the Absurd]]
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−	In general terms this is the name coined by Martin Esslin to refer to works of theatre heavily influenced by the philosophical nihilism of Sarte, Camus and others, plays in which the focus is on the depiction of man cut off from his roots: religious, cultural, intellectual and existential. He appears lost in a universe that apparently makes no sense. Among the primary formal examples of "absurdist playwrights" are Samuel Beckett (e.g. Waiting for Godot), Eugene Ionesco (e.g. La cantratrice chauve/ The bald primadonna), Harold Pinter (The caretaker) and Edward Albee (e.g. Who's Afraid of Virginia Woolf?). In South African drama the absurdity of the human condition features strongly in a wide range of plays from the 1960's onward, though not always as abstractly as in the case of the examples mentioned. See further [[Absurd theatre in South Africa]]
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−	~~==Sources==~~
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−	~~https://en.wikipedia.org/wiki/Theatre_of_the_absurd~~
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−	~~==Return to==~~
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−	~~Return to [[South_African_Theatre/Themes\|South African Theatre Terminology and Thematic Entries]]~~
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−	~~Return to [[Main Page]]~~

← Older revision		Revision as of 06:30, 12 December 2024
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		+	#REDIRECT [[Theatre of the Absurd]]
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	In general terms this is the name coined by Martin Esslin to refer to works of theatre heavily influenced by the philosophical nihilism of Sarte, Camus and others, plays in which the focus is on the depiction of man cut off from his roots: religious, cultural, intellectual and existential. He appears lost in a universe that apparently makes no sense. Among the primary formal examples of "absurdist playwrights" are Samuel Beckett (e.g. Waiting for Godot), Eugene Ionesco (e.g. La cantratrice chauve/ The bald primadonna), Harold Pinter (The caretaker) and Edward Albee (e.g. Who's Afraid of Virginia Woolf?). In South African drama the absurdity of the human condition features strongly in a wide range of plays from the 1960's onward, though not always as abstractly as in the case of the examples mentioned. See further [[Absurd theatre in South Africa]]		In general terms this is the name coined by Martin Esslin to refer to works of theatre heavily influenced by the philosophical nihilism of Sarte, Camus and others, plays in which the focus is on the depiction of man cut off from his roots: religious, cultural, intellectual and existential. He appears lost in a universe that apparently makes no sense. Among the primary formal examples of "absurdist playwrights" are Samuel Beckett (e.g. Waiting for Godot), Eugene Ionesco (e.g. La cantratrice chauve/ The bald primadonna), Harold Pinter (The caretaker) and Edward Albee (e.g. Who's Afraid of Virginia Woolf?). In South African drama the absurdity of the human condition features strongly in a wide range of plays from the 1960's onward, though not always as abstractly as in the case of the examples mentioned. See further [[Absurd theatre in South Africa]]

← Older revision		Revision as of 14:35, 6 September 2012
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−	In general terms this is the name coined by Martin Esslin to refer to works of theatre heavily influenced by the philosophical nihilism of Sarte, Camus and others, plays in which the focus is on the depiction of man cut off from his roots: religious, cultural, intellectual and existential. He appears lost in a universe that apparently makes no sense. Among the primary formal examples of "absurdist playwrights" are Samuel Beckett (e.g. Waiting for Godot), Eugene Ionesco (e.g. La cantratrice chauve/ The bald primadonna), Harold Pinter (The caretaker) and Edward Albee (e.g. Who's Afraid of Virginia Woolf). In South African drama the absurdity of the human condition features strongly in a wide range of plays from the 1960's onward, though not always as abstractly as in the case of the examples mentioned. See further [[Absurd theatre in South Africa]]	+	In general terms this is the name coined by Martin Esslin to refer to works of theatre heavily influenced by the philosophical nihilism of Sarte, Camus and others, plays in which the focus is on the depiction of man cut off from his roots: religious, cultural, intellectual and existential. He appears lost in a universe that apparently makes no sense. Among the primary formal examples of "absurdist playwrights" are Samuel Beckett (e.g. Waiting for Godot), Eugene Ionesco (e.g. La cantratrice chauve/ The bald primadonna), Harold Pinter (The caretaker) and Edward Albee (e.g. Who's Afraid of Virginia Woolf?). In South African drama the absurdity of the human condition features strongly in a wide range of plays from the 1960's onward, though not always as abstractly as in the case of the examples mentioned. See further [[Absurd theatre in South Africa]]

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 In general terms this is the name coined by Martin Esslin to refer to works of theatre heavily influenced by the philosophical nihilism of Sarte, Camus and others, plays in which the focus is on the depiction of man cut off from his roots: religious, cultural, intellectual and existential. He appears lost in a universe that apparently makes no sense. Among the primary formal examples of "absurdist playwrights" are Samuel Beckett (e.g. Waiting for Godot), Eugene Ionesco (e.g. La cantratrice chauve/ The bald primadonna), Harold Pinter (The caretaker) and Edward Albee (e.g. Who's Afraid of Virginia Woolf?). In South African drama the absurdity of the human condition features strongly in a wide range of plays from the 1960's onward, though not always as abstractly as in the case of the examples mentioned. See further [[Absurd theatre in South Africa]]
 Return to [[South_African_Theatre/Themes|South African Theatre Terminology and Thematic Entries]]
 Return to [[Main Page]]