The Theatre of the Absurd by Martin Esslin Summary Urdu Hindi скачать в хорошем качестве

The Theatre of the Absurd by Martin Esslin Summary Urdu Hindi

#The_Theatre_of_the_Absurd by #Martin_Esslin summary Urdu Hindi The Theatre of the Absurd Theatre of Absurd Drama portraying the futility and anguish of human struggle in a senseless and inexplicable word Their works focused largely on the idea of existentialism and expressed what happens when human existence has no meaning or purpose and therefore all communication breakdown After world war there was question on human existence 'The Theatre of the Absurd' is a term coined by the critic Martin Esslin for the work of a number of playwrights, mostly written in the 1950s and 1960s. The term is derived from an essay by the French philosopher Albert Camus. In his 'Myth of Sisyphus', written in 1942, he first defined the human situation as basically meaningless and absurd. 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 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 because 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 Absurd does not provoke tears of despair but the laughter of liberation.” Man is alone in a meaningless world Key Figures Samuel Beckett (1906-1989) Arthur Adamov (1908-1970) Eugene Ionesco (1909-1994) Jean Genet (1910-1986) Edward Albee (1928) Harold Pinter (1930-2008) Tom Stoppard (1937) Most of absurdist playsare tragicomedies “Nothing is funnier than unhappiness...” Esslin cites William Shakespeare Ionesco - Macbett (Macbeth) Rosencrantz And Guildenstern are Dead (Hamlet) Luigi Pirandello Two themes that reoccur frequently throughout absurdist dramas are a meaningless world and the isolation of the individual. A World Without Meaning: “masked until the end of the Second World War by the substitute religions of faith in progress, nationalism, and various totalitarian fallacies” (23). “not the message, nor the failures of life, nor the moral disaster of the two old people, but the chairs themselves; that is to say, the absence of people, the absence of the emperor, the absence of God, the absence of matter, the unreality of the world, metaphysical emptiness” (qtd. in Esslin 152). The Isolation of the Individual “a lone outsider, cut off and isolated in [his own] private world” (Esslin 22). muel Beckett’s //Waiting for Godot// (1952), the most well-known play from the absurdist movement, features this idea. The two main characters, Vladimir and Estragon, are both tramps who spend the entirety of the play on the outskirts of society. Though they have each other, they are at the same time isolated from one another. One indication of this is that they are never able to adequately communicate; their conversation goes in circles. The form of a piece of art is often neglected in favor of its subject matter Esslin claims that “the Theatre of the Absurd goes one step further [than existential drama] in trying to achieve a unity between its basic assumptions and the form in which these are expressed” (24). “the Theatre of the Absurd merely communicates one poet’s most intimate and personal intuition of the human situation, his own sense of being, his individual vision of the world” (402-403) One characteristic of this poetic form was the devaluation of language. Waiting for Godot conclude with the line “Yes, let’s go,” only to be followed by the stage direction, “They do not move” (Beckett 6) Ionesco’s The Bald Soprano: Mrs. Martin: How curious it is, good Lord, how bizarre!… Mr. Martin [musing]: How curious it is, how curious it is, how curious it is, and what a coincidence! (Ionesco 14). Another poetic aspect of absurdist plays is that they lack a plot or a clear beginning and end with a purposeful development in between. (Lack of plot) “only because it is physically impossible to present so complex an image in an instant [that] it has to be spread over a period of time” (Esslin 404). “the dignity of man lies in his ability to face reality in all its senselessness; to accept it freely, without fear, without illusions–and to laugh at it” (Esslin 429).