Theater of Absurd :Features and Dramatic Elements

The term “Absurd” in its current sense was initially utilized by Esslin and from that point forward it was joined to a certain point of view and perspective in writing. Absurd drama has profound roots; it might be identified with the pantomimes of old times and to the well known comedies of Italy. It join with gibberish composing like that of Lewis Carrol and with the cutting edge development known as the Theater of Cruelty. “Waiting for Godot” is one of the regular samples of it.

The topic of the play shows volcanic change in the political and social divisions of that time.

The Theater of Absurd has been a catchphrase, quite utilized and highly misused. The Theater of Absurd is a Post-war marvel. Genet’s “The Maid” had its first execution at the Athenee in Paris in 1947; Lonesco’s “Bald Primodonna” and Adamov’s most punctual plays were initially created in 1950 and Beckett’s “Waiting for Godot” in 1952. It will be perceived that all these first exhibitions occurred in Paris. Furthermore Paris surely is the source of the Theater of the Absurd. Yet it is just as abnormal and significant the dramatists themselves are to a great extent banishes from different nations accumulated in Paris.


The winding down of religious confidence that had begun with the Enlightenment and headed Nietzsche to discuss the “Death of God” by the eighteen-eighties; the break down of the liberal confidence in inescapable social advancement in the wake of the world war; the expectation by Marx after Stalin had transformed the Soviet Union into a totalitarian oppression; the backslide into savageness, mass murder and genocide in the condemnation of Hitler’s short govern over Europe amid the Second World War and in the after math of that war. The spread of otherworldly void in the apparently prosperous and well-to-do social orders of Western Europe and the United States. Most likely a considerable lot of the touchy and educated personalities of the mid twentieth century had lost the significance of life. The firmest establishments for trusts and positive thinking caved in. Abruptly man himself confronted with an universe that is startling and nonsensical – in a saying ‘absurd’. All affirmation of trust, all clarifications of extreme significance have abruptly been unmasked as silly illusions, void prattle, shrieking oblivious. The entire world introduces a dark jibber jabber of voices in an un-justifiable dialect. Everything appears to turn in bad dream and frightfulness.


The realism of absurd plays is a mental and internal realism. They investigate the human subliminal in profundity as opposed to attempting to depict the outward appearances of human presence. Such plays can’t be called profoundly skeptical yet a representation of absolute sadness. The Theater of Absurd assaults the agreeable surenesses of religious or political standard. It means to stun its crowd out of jadedness, to bring it face to face with the hard truths of human circumstance as scholar sees. It is test to acknowledge the human condition as it seems to be, in all its riddle and absurdity, and to tolerate it with nobility, capably and exactly on the grounds that there are no simple answers for the puzzle of presence. The shedding of simple results of consoling illusions may be excruciating however it deserts it a feeling of opportunity and alleviation. In the final resort, Theater of Absurd does not incite tears of despondency yet the giggling of liberation.

About Saweel Ur Raheem

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