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Journal articles on the topic 'Theatre of absurdity'
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1
Curtin, Adrian. "The Absurdity of Denial: Staging the American Way of Death." New Theatre Quarterly 33, no. 2 (April 12, 2017): 125–42. http://dx.doi.org/10.1017/s0266464x17000045.
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Death denial is a psychological impulse and a cultural attitude that banishes thoughts about death and disavows the reality of personal mortality. In theatre, death denial can function as an unexamined philosophy and conditioning element unless it is foregrounded and challenged. In this article, Adrian Curtin looks at two examples of American experimental theatre that did just that: a 1975 production of Dino Buzzati's 1953 play Un Caso Clinico (A Clinical Case) and Terminal (1969–1971), a collectively created work by the Open Theatre. Buzzati's play is little known, especially in English-language scholarship. This article pairs an obscure work with a canonical work in order to offer new insight into American experimental theatre of the early 1970s, indicating how both productions contributed to the contemporaneous ‘death awareness’ movement, which opened up matters relating to death and dying. These productions highlighted the illogicality and absurdity of death denial, exposing the delusional basis of this attitude and its potentially damaging effects on the individual and society. Adrian Curtin lectures in the Drama Department at the University of Exeter. He is the author of Avant-Garde Theatre Sound: Staging Sonic Modernity (Palgrave, 2014) and multiple essays on theatre sound, musical performance, and modernism. He is the 2015 winner of the Early Career Research Prize, awarded by the Theatre and Performance Research Association.
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Koroliova, Valeria, and Iryna Popova. "Destruction of Communicative Pragmatics in Contemporary Absurdist Dramaturgic Texts." PSYCHOLINGUISTICS 27, no. 2 (April 12, 2020): 195–212. http://dx.doi.org/10.31470/2309-1797-2020-27-2-195-212.
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The aim of the article is characteristics of mechanisms of pragmatics distraction in communication of active participants of modern Ukrainian plays with features of the theatre of the absurdity. Structural and contextual mechanisms of dialogic speech depragmatization are singled out on factual material. In a dramatic dialogue absurdity is explained as a purposeful instruction to convey the thought about illogicalness and chaotic nature of reality, the aimlessness of a human being. The main methods of the study are descriptive, context-interpreting and presuppositional.
Study results. One of absurdity occurrence mechanisms is depragmatization – purposeful non-normative usage of language pragmatic resources. We identify structural and contextual violations within depragmatization. Structural violations are characteristic for an absurdist drama in which characters’ cues do not have illocutionary and thematic coherence. Another type of structural violations is conscious violations of formal structure of linguistic units. Role exchange, during which an active participant takes over someone else’s communicative role, is an example of contextual depragmatization. Within contextual violations we also identify the group of cognitive violations which is based on non-observance of causally consecutive and logical connections. Anomalies based on an arbitrary choice of language stylistic means, which are uncoordinated with general principles of stylistic formalization of the text, are considered the contextual variety of depragmatization.
Conclusions. Structural and contextual communicative violations are used by playwrights to activate the sense of the situational absurdity depicted in a work. Active participants of drama of the absurdity communicate without communicative purpose and taking into account situational needs, which results in actualization of pragmatic potential of used linguistic units, falsification of meaningful speech.
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Jamal, Nynu V. "A Postmodern Allegory: Absurdity in Harold Pinter’s The Birthday Party." Shanlax International Journal of English 9, no. 1 (December 1, 2020): 16–17. http://dx.doi.org/10.34293/english.v9i1.3516.
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The Birthday Party is an absurdist play written by the British playwright, screenwriter, director and actor Harold Pinter. He is one of the most celebrated dramatists of the Theatre of the Absurd. The objective of the paper is to examine how Pinter’s play The Birthday Party incorporates the elements of an absurdist play. The paper also tries to explain how the fragility of language to communicate is being portrayed through the play.
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Abid, Shazia. "The Element of Time in Waiting for Godot by Samuel Beckett." Journal of World Englishes and Educational Practices 3, no. 4 (April 25, 2021): 16–22. http://dx.doi.org/10.32996/jweep.2021.3.4.3.
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Samuel Beckett’s Waiting for Godot (1952) is one of the most puzzling plays of the modern era. It is a play where nothing happens twice. Hence, the purpose of this research paper to explore the element of time in Beckett’s masterpiece Waiting for Godot (tragicomedy). The play is part of the ‘Theatre of Absurd’ and being an absurdist playwright, Beckett tends to explore the internal states of individual’s mind. It also explores the absurdity of modern man that how they are dwelling in a twilight state and unaware of their surroundings. This work is based on the belief that the universe is irrational, meaningless and the search for order brings the individuals into conflict with the universe. The study investigates existentialist’s point of views. In the play ‘Time’ represents very much dominating force as well as a tormenting tool to its characters.
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Verbivska, H. O. "THE EXPERIENCE OF ABSURDITY: EXISTENTIALISTIC PARADIGM AND PARADIGM OF THEATRE OF THE ABSURD (WITH REGARD TO SAMUEL BECKET'S PLAY 'NOT I')." UKRAINIAN CULTURAL STUDIES, no. 1 (8) (2021): 37–40. http://dx.doi.org/10.17721/ucs.2021.1(8).08.
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This article circles around the phenomenon of absurdity and absurd which appears to be greatly elaborated by Albert Camus and Theatre of the Absurd. The article reflects mainly upon Becket's dramatic monologue "Not I", which might be characterized as a sort of missing link between two forms of absurd. The style of Albert Camus puts emphasis on the inner experience extrapolated by means of the author. In this sense, the feeling of despair and existential crisis, typical for existentialism in general, brings into existence the absurdity of being as such. In comparison with that, the manner, in which Theatre of the Absurd presents current states of things, organizes the comic dimension of a given situation. To put it another way, Theatre of the Absurd sets up living intersubjectivity, which is a sense-formative precondition of the laughter, and dynamic omnipresence of the inner experience literally declared on the scene. Becket's "Not I" deploys, on the one hand, the existentialistic understanding of human beings, and, on the other, the theatrical representation injected with intersubjectivity. The article takes into account Deleuzian approach towards cinematography in order to conceptualize Becket's play. The notion of affection-image, which is taken from Deleuze, illustrates the structure and essentially the nature of images taking place in "Not I". Becket draws special attention to the image of the voice with regard to audial metaphors, which the main heroine uses during all the time of self-enunciation. Behind the words that she speaks there is an implicit trauma, which is unknown to the contemplators of the performance. It is noteworthy to admit that the organization of the play makes visible only the mouth of the heroine whereas everything remains in the shadows. Deleuzian affection-image deals with annihilated spatial-temporal coordinates and absolutization of the face (faceification). The quality of metaphors in the monologue and the decoration of space establish the phenomenon of absurdity in Becket's "Not I".
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Velmani, N. "Howard Brenton’s Transmutation from Political Theatre to Absurd Theatre." Journal of English Language and Literature 1, no. 3 (June 30, 2014): 61–64. http://dx.doi.org/10.17722/jell.v1i3.19.
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Of all the contemporary dramatists, Howard Brenton is surely the most prolific, marked by breadth and variety,his plays mainly tackling moments of great political upheavals of the time. Many of his plays are turned out at speed as quickresponses to events in public life. Brenton, as a man of political conviction, exposes contemporary consciousness. The theatreserves as a platform for his political revolt expressive of disillusionment at the failure of socialism. Following the trend ofBrechtian Epic Theatre, Brenton used the basic principles in matters of setting, characterization, empathy and dramaticstructure and the techniques of socialist realism creating a fable with characters capable of change showing the light ofdawn in the darkest night. He evolved a large-scale ‘epic’ theatre dealing in complex political issues, an attempt to constitutea British Epic theatre. Since 1965, Brenton committed himself to a career as a playwright with his first play Ladder of Foolstill the recent play Drawing the Line (2013), he has widely moved through different phases of his career as a politicaldramatist with the portrayal of England in terms of a violent political landscape. But of late, there is transmutation frompolitical theatre to absurd theatre. In his recent play Drawing the Line Brenton faces an epic task himself in distilling theturmoil of India-Pakistan partition into two hours on stage. He makes the audience realize the absurdity of decisions made bythe intelligent principled political leaders that end up in tumultuous violence and conflicting demands.
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Parvin, Shahnaj, and Rahman M Mahbub. "Perceiving Reality through Absurdity: a Prime Projection in Beckett’s Waiting for Godot and Ahmad’s the Thing." Shanlax International Journal of Arts, Science and Humanities 8, no. 1 (July 2, 2020): 1–6. http://dx.doi.org/10.34293/sijash.v8i1.3242.
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This paper offers an in-depth analysis of Beckett’s Waiting for Godot and Ahmad’s The Thing with the focus on the sense of craving to go on and to endure the existence, the ultimate reality of human life. Between these two extraordinary playwrights of Absurd Theatre, one is from the West, and the other is from the East. So, a meticulous survey on these two selected plays unfolds trajectories of convergence. This research will show that though the two plays are of two opposite continents, they are primly projecting the same theme of realizing reality through absurdity using the same structural techniques of absurd drama. The researchers find it remarkable that despite an outwardly hopeless fate, both the plays express the human spirit of continuing life through endurance and invite the audience to win the absurdity of life by enduring it. Such is reality, and,in both the plays, this realization of accepting reality comes through absurdity. However, it is narrative research that follows the descriptive-cum analytical method, and the relevant textual references are given as evidence to support the argument of this study.
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Starkey, Kenneth, Sue Tempest, and Silvia Cinque. "Management education and the theatre of the absurd." Management Learning 50, no. 5 (October 22, 2019): 591–606. http://dx.doi.org/10.1177/1350507619875894.
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In this article, we recommend the drama of theatre of the absurd as a novel space for critically reflecting upon management and management education as shaped by the forces of emotion, irrationality and conformism rather than reason. We discuss the theatre of the absurd as uniquely relevant to understanding our troubled times. We present a brief overview of the history of business schools and management education. We apply the idea of absurdity to the world of business schools and management education, focusing on the work of one of the theatre of the absurd’s leading proponents, Eugène Ionesco. We emphasise the importance of fiction and fantasy as key aspects of organisation and education. We contribute to debates about management education by reflecting on possible futures for management education and the business school, embracing the humanities as a core disciplinary focus. We suggest that this will help rebalance management education, retaining the best of the existing curriculum, while re-situating the study of management in its broader historical and philosophical nexus.
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Mellēna-Bartkeviča, Lauma. "Theatre and Post-Truth: KGB Experiences Reflected in the Production “History Research Commission” Directed by Alvis Hermanis." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 310–18. http://dx.doi.org/10.37384/aplkp.2021.26-1.310.
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“History Research Commission” staged by Alvis Hermanis in New Riga Theatre (2019) is an example of post-truth coming onto the theatre stage in terms of a rather sensitive subject – historical traumas and unsolved issues that still influence today’s society in Latvia. Hermanis’s production accepts the post-truth as an inevitable and obvious present framework of modern thinking; meanwhile, the subject itself (“cheka bags”) implies the impossibility to find out any “truth” due to its distorted nature from the very beginning. “History Research Commission” paradoxically leads to conclude that the post-truth approach in theatre might be the most honest in terms of today’s world, where the truth has lost its previous status of value. The article covers the short history of “post-truth” analysed by Ralph Keyes, Lee McIntyre, and Yael Brahms. It aims to apply the notion to performing arts through the example of KGB’s experiences in Hermanis’s production (co-created with the actors of the New Riga Theatre) that seems to accept the post-truth and the tragedy of Western rationalism facing the impossibility to find out the provable truth regarding certain subjects. The message of absurdity to chase the truth in “cheka bags” confirms post-truth as the status quo of our time.
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Rost, Katharina. "Comic Sounds in Contemporary Theatre Performances: Marthaler, Pollesch, Fritsch and Gotscheff." Recherches sémiotiques 35, no. 2-3 (August 31, 2018): 163–80. http://dx.doi.org/10.7202/1051074ar.
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At the Volksbühne am Rosa-Luxemburg-Platz in central Berlin, directors René Pollesch, Christoph Marthaler, Herbert Fritsch, and Dimiter Gotscheff employ comical elements of slapstick, irony, black humour, exaggeration, bluntness, vulgarity, and absurdity. Sound often proves to be significant to the comical effect of the performances as the use of music, sound effects and a specific way of speaking are characteristic for each of their individual directing styles. Even though their styles are comparable in that they all use of a vast array of acoustic elements, they nevertheless differ greatly from each other. The aim of my article is to categorize their use of comical sounds by considering how and to what effect they are employed. The comical aspect of sounds, situations or actions is not necessarily universal or trans-historical, but rather always depends on the specific cultural and historical context that also coins the specific contemporary theatre practice. The article focusses on these connections and on the shifts of attention that are mainly caused by the comical effects of sound and can cause further comical effects.
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Brzeska, Ewa. "The Early Polish Theatre Productions of Beckett’s Works." Tekstualia 4, no. 55 (December 18, 2019): 45–62. http://dx.doi.org/10.5604/01.3001.0013.3459.
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The article shows that Beckett’s works were initially linked by the critics with the contemporary social and political background. His plays were interpreted through the lens of the drabness and absurdity of daily life in communist Poland. Sometimes Beckett’s works would be set side by side with the romantic canon, whereas in other cases they were discredited as expressing trivial existential pain through a philosophical circus. Stefan Treugutt went so far as to predict that „Godot will not open new roads for drama”, although his opinion on Beckett evolved with time. Wisława Szymborska and Andrzej Kijowski saw truth in Beckett, as did Czesław Miłosz, who appreciated his humility and honesty in talking about the fall of Western European culture from the perspective of its inhabitant, and not of someone who points it out with a sense of superiority. With time, as the recognition of the Irishman’s work in Poland grew, the Polish discussion of his works began to focus on an important issue dividing the critics and the thespians, that is how to approach the spreading practice of departing from the play’s text and stage directions? Should it be treated as a reprehensible transgression against the will of the author, or rather as Beckett-inspired artists’ autonomy of expression? Over the recent decades we have witnessed that the phenomenon of experimenting with his plays, combining his works with those of other writers, or modernizing them, has intensifi ed. Beckett’s directions for stage productions have never been treated in Poland as having paramount signifi cance, and Beckett’s presence in Polish theatres now confi rms this.
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Fisher, Emma. "The symbiotic relationship between puppetry and disability: The emergence of a strong contemporary visual language." Journal of Applied Arts & Health 11, no. 1 (July 1, 2020): 15–28. http://dx.doi.org/10.1386/jaah_00015_1.
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This article will discuss how the puppet’s body is the perfect vessel to reclaim the voices of those that have been ‘othered’.1 It examines the history of the fractured puppet and the emergence of disability-affirmative puppet theatre in the twenty-first century, exploring the puppet’s ability to fracture, reform and move in new and exciting ways that allow different approaches of expression; these seek to challenge how the body, the puppeteer and the puppet are viewed. I will examine how puppet plays, A Square World, Meet Fred, The Iron Man and my own show Pupa, represent disability through puppets’ bodies in new and interesting ways. Through the use of the puppet’s body, these shows seek to shine a light on the absurdity of an exclusive world and make us question the cultural constructions around the disabled and puppet body.
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Ahashan, Mohammad, and Dr Sapna Tiwari. "Nihilism and Nothingness in The Play Entitled The Birthday Party (1957) With Special Reference To The Existential Philosophy." SMART MOVES JOURNAL IJELLH 6, no. 2 (February 28, 2018): 9. http://dx.doi.org/10.24113/ijellh.v6i2.3580.
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The two world-wars and its massive destruction and horror had a great impact on human mind. Inevitably complete cynicism , pessimism , alienation , nothingness , existentialism reflected in the literature of that time. Pinter's play The Birthday Party (1957) is based on the philosophy of existentialism which later on became the source for the " Theatre of the Absurd ". Albert Camus and Jean-Paul Sartre gave the philosophy of existentialism according to which the universe and man's experience in it are meaningless. All attempts by human mind to understand the world are futile . All philosophical systems and religion which claim that they can enable man to make sense of the world are delusive and useless. Albert Camus in The Myth of Sisyphus (1942) wrote :-
" 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 constitutes the feeling of Absurdity. "
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Firlej, Agata. "Śmierć porwana. O terezińskiej sztuce Hledáme strašidlo Hanuša Hachenburga z 1943 roku." Slavica Wratislaviensia 168 (April 18, 2019): 327–35. http://dx.doi.org/10.19195/0137-1150.168.27.
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The stolen death: About the play Hledáme strašidlo by Hanuš Hachenburg from 1943The puppet theatre play Hledame strašidlo by Hanuš Hachenburg was written in the Terezín/Theresienstadt ghetto in 1943 and over 50 years was hidden in the archive until it was presented to readers and viewers in the 1990s — but it turned out to be still surprisingly valid and cogent. The author, a 14-year-old prisoner of the ghetto, used the conventions of the puppet theatre, the carnival and the fairy tales. The mythical or fairy-tale-like “timelessness” allowed him to show the absurdity of Nazism and — yet unnamed — the Holocaust. The main character of the play, the King, captures Death itself, which soon becomes so ordinary and kitschy that no one is afraid of her. The confinement of Death — a motif known, among others, from the myth of Sisyphus — is an important theme of the theatre in Terezín; it appears also in the German-speaking opera by Peter Kien and Viktor Ullmann, Der Keiser von Atlantis Emperor of Atlantis. In this article, I show how the old themes of enslaved Death and the dance macabre between extasy and destruction become the symbols of the war, and indeed of the 20th century, which culminates in the devastating forces of the great ideologies and in which there can be found the origins of retrotopia, which is now, according to Zygmunt Bauman, the dominating point of view in East- and West-European and in American discourse. Únos smrti. O terezίnske divadelnί hře Hledáme strašidlo Hanuše Hachenburga z roku 1943Divadelní hra Hledáme strašidlo od Hanuše Hachenburga byla napsána v ghettu Terezín / Theresienstadt v roce 1943 a více než padesát let byla ukryta v archivu, aby v 90. letech si našla cestu pro své čtenáře a diváky — a ukázalo se, že je překvapivě platná a přitažlivá. Autor, čtrnáctiletý vězeň ghetta, využil konvencí loutkového divadla, karnevalu a pohádek. Mýtická nebo pohádková „nadčasovost“ mu umožnila ukázat absurditu nacismu a — tehdy ještĕ nemenovaného — holocaustu. Hlavní postava hry, Král, zachytí samotnou Smrt, která se brzy stane tak obyčejnou a kyčovitou, že se ji nikdo nebude bát. Únos smrti — motiv známý mimo jiné i z mýtu Sisyfa — je důležitým tématem divadla v Terezíně; objevuje se také v německojazyčné operě Petera Kiena a Viktora Ullmanna Der Keizer von Atlantis Císař Atlantidy. V tomto textu ukazuji, jak se staré motivy zotročené Smrti a danse macabre mezi extázi a zničení stávají symbolem války a celého dvacátého století, v který vyvrcholily ničivými sily velké ideologie a kde lze nalézt počátky retrotopie, která je podle Zygmunta Baumana dominantním hlediskem ve východním, západoevropským a americkým diskurzu.
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Rozik, Eli. "Stage Metaphor: With or Without. On Rina Yerushalmi's Production of Ionesco's The Chairs." Theatre Research International 19, no. 2 (1994): 148–55. http://dx.doi.org/10.1017/s0307883300019386.
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In the last century it has become commonplace that faithfulness to the playwright, and the play, is not necessarily a commendable quality. The play is currently viewed as raw material for a production, a pre-text for a more complex and final text, which reflects the universe of the director rather than that of the playwright. The performance is a work of art in which dialogue is only one component among others, although usually of crucial importance. Similarly, the playwright is viewed as merely the designer of the verbal aspects of the final text, among other designers. The director, in contrast, is viewed as the actual sender of the message and accountable to audience and critics for the results of his decisions: whether he or she has impoverished or enriched the play, whether or not he or she succeeded in conveying some new insight. Without elaborating on a justification of this view, there is no doubt that the production of Ionesco's The Chairs, directed by Rina Yerushalmi at the Cameri Theatre, Tel Aviv, 1990, is a clear instance of such an approach.Perhaps the most striking decision of Yerushalmi was to get rid of any deviation from consistent characterization, although prescribed by the playwright in the stage directions of the play. Following Martin Esslin, with regard to plays within the style of the so-called ‘Theatre of the Absurd’, such deviations are among the features which are held responsible for the sense of absurdity and/or grotesque that such texts produce in the audience.
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Tan, Ian. "Ian McEwan’s Aesthetic Stakes in Adaptation as Political Rewriting: A Study of Nutshell (2016) and The Cockroach (2019)." Anglia 139, no. 3 (September 1, 2021): 564–83. http://dx.doi.org/10.1515/ang-2021-0043.
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Abstract This essay will examine two of Ian McEwan’s recent novellas as political rewritings of William Shakespeare and Franz Kafka. McEwan’s Nutshell (2016) repositions the avenger figure in Hamlet as an unborn child whose melancholic awareness of the condition of modern existence allows him a mode of ironic commentary about the possibilities of moral and political choices in a world soon to be destroyed by climate change and nuclear apocalypse. The Cockroach (2019) turns Kafkaesque absurdity into political satire as the protagonist-turned-insect first encountered in The Metamorphosis (1915) is arrogated a position of absolute power in a fictional dystopia eerily resonant of Britain on the verge of Brexit. I argue that McEwan’s re-scripting of these two works of canonical literature imbues his narratives with political resonance, as the formulations and distortions of the physical body in his two novellas map onto the articulations of political belief. In effect, McEwan posits the Foucaultian notion that the body is determined by symbolic systems of power. However, he succeeds in turning the gaze back onto the political by instantiating the radical dimension of a subject whose coming into being is already a political act and event. In other words, McEwan’s artistic intervention in rewriting the narratives of Hamlet and Gregor Samsa explodes the hermeticism of the family drama in the originals by relocating the theatre of subjectivity within the sphere of the political.
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ElHalawani, Amina. "Beckett as Muse for Egyptian Playwrights." Samuel Beckett Today / Aujourd’hui 31, no. 2 (October 24, 2019): 219–33. http://dx.doi.org/10.1163/18757405-03102003.
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Abstract In 1962, Beckett’s theatre debuted in Egypt and, ever since, it has inspired Egyptian playwrights. This paper examines how two Egyptian writers engaged with Beckett’s Waiting for Godot, as an example of both Beckett’s work and so-named absurdist theater, revealing it to have more potential for political and social engagement than traditionally understood. Masir Sursar [Fate of a Cockroach] by Tawfiq Al-Hakim and Musafir Layl [Night Traveller] by Salah Abdul Saboor make a good case study of these effects.
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Sathotho, Surya Farid. "ABSURDITY IN PUTU WIJAYA’S SHORT PLAY." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 18, no. 2 (September 13, 2021): 76–82. http://dx.doi.org/10.24821/tnl.v18i2.4458.
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Short play known as Drama Pendek (Drapen) is the latest form of Putu Wijaya's work. The play only ranges from two to twelve pages. From the number of pages, it is assumed that the drapen performance will only last five to ten minutes. Although only a short duration, Putu Wijaya is consistent with the aesthetic concept of terror. This concept, if traced further, is a derivative of the concept of the theater of the absurd. To see the possibility of performing the drapen, an analysis of the structure and texture of randomly selected drapes will be carried out. The analysis is carried out with a theoretical approach that sees the terror in the structure and texture in a drafted text. It is hoped that the results will show whether the short play meets the rules of dramaturgy to be performed on stage Key words: Short play, Theater of the Absurd, Putu Wijaya
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Zinoveva, Regina V. "Archetypical images of a child and a cultural hero in the playwrights of Edward Franklin Albee and Sławomir Mrożek in the light of the generational problem." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 122–28. http://dx.doi.org/10.34216/1998-0817-2021-27-1-122-128.
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The article examines the place of archetypal images of a child and a cultural hero in the ideological and imaginative system of theatre of the absurd of Edward Franklin Albee and Sławomir Mrożek. It is stated that in Albee’s dramas ("The Sandpbox", "The American Dream", "Who's Afraid of Virginia Woolf", "A Delicate Balance") and Mrożek’s dramas ("Tango", "A Happy Event", "Racket-Baby") the archetypal images of a divine and demonic ("unruly") child, outlined in Carl Gustav Jung's psychoanalytic philosophy, enter into ambivalent relations. The thanatological motifs which accompany this archetypal duality testify to the distorted image of the future in the consciousness of twentieth-century human, so that the image of a child in the drama of the absurd becomes a reflection of the general process of dehumanisation in modern society as well as in the family. The archetype of the cultural hero, according to the world mythological tradition, embodies the ideas of individuation and transformation of a child growing into adulthood. However, through the presentation of grotesque and parodic images of children and young men in the work of playwrights, the understanding of the child archetype as a potential cultural hero does not include the idea of civilisational progress as the "futureness" of the world, but rather reflects the eschatological scenario of the world history. The problem of family relations, which captures the generational conflict in its carnivalised version (the inverted relations between the "older" and the "younger"), is an indicator of the social absurdity represented in the plays. The comparative analysis of the plays in the light of the ambivalent archetype of "divine child" – "unruly child" contributes to the identification of national and socio-cultural specificity of the conflict of "fathers and sons". It is concluded that the collective experience of the generation to which Albee and Mrożek belonged to determines the pessimistic vision of the future by both playwrights.
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Shaughnessy, Nicola. "Theatres of Absurdity: pedagogy, performance and institutional politics." Studies in Theatre Production 13, no. 1 (January 1996): 39–53. http://dx.doi.org/10.1080/13575341.1996.10806925.
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Nwachukwu, Chukwuka Ogbu, and Urama Evelyn Nwachukwu. "Gender, the Nigerian Civil War and Hard Choices: Nihilism or Absurdism (?) in Isidore Okpewho’s The Last Duty." CLEaR 4, no. 2 (September 1, 2017): 7–13. http://dx.doi.org/10.1515/clear-2017-0007.
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Abstract This paper entitled “Gender, the Nigerian Civil War and Hard Choices: Nihilism or Absurdism(?) in Isidore Okpewho’s The Last Duty” evinces an evaluative excursion into the author’s delineation of gender in war and its concomitants regarding actions, inactions, and the mindset of the actors and the acted-upon (victims) of the fratricidal Nigerian conflict within a designated theatre. We demonstrated that the quantum impact of the war engages some near-totally nihilistic imperatives of the war. Nevertheless, we surmised, at the final count, that the war results in high-wire tension rather than erode the indices for hope regarding the war victims and victimizers alike; and by dangerous extension, the Nigerian nation. Although we conceded the presence of dystopia which is life-threatening and socially destabilizing, our calculation in the final analysis, is that the tensions generated against both genders in the war are essentially absurdist, not nihilist. In this vein of analysis, we concluded that Okpewho’s delineation retains deliberately enough rays for reconstructive, rehabilitative, regenerative and cohesive engagements that will pave the way for societal survival and continuity.
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Yasa, I. Nyoman. "DUNIA ABSURD DAN PERLAWANAN KELAS PADA DRAMA DAG-DIG-DUG KARYA PUTU WIJAYA." Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa 3, no. 2 (July 15, 2010): 136. http://dx.doi.org/10.24036/ld.v3i2.7374.
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Research on drama in Indonesia is an effort to apply and express the theory in Indonesia. Naturally a theory existence from research accumulation to applied skills. It is hoped that this research can accumulate the science, mainly drama. The term of absurd was used by Martin Esslin for kind of theater that used the failure of language as main of communication. Besides, this term is popularized by Eugene Ionesco. He is a writer of absurd theater. Many of his drama already translated and performed in Indonesia. The data that already collected is analyzed by using the concept of absurdity to reveal the absurdity in Dag-Dig-Dug drama. In other side, the concept of class from Karl Marx is used to comment the domination and class resistance that are taken from Dag-Dig-Dug drama. Dag-Dig-Dug shows the social problems, mainly domination and hegemony of powerful person toward proletarian people. The domination and hegemony are in form of physics and psychology.
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Dufresne, Todd. "After Beyond Comes The Future : Freud's Absurdist Theatre of Reason." ESC: English Studies in Canada 32, no. 1 (2007): 27–43. http://dx.doi.org/10.1353/esc.2007.0067.
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Hoeper, Jeffrey D. "Theatre of Chaos: Beyond Absurdism, into Orderly Disorder (review)." Comparative Drama 34, no. 3 (2000): 359–63. http://dx.doi.org/10.1353/cdr.2000.0006.
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Sharma, Dr Shreeja Tripathi. "Samuel Becket’s Waiting for Godot: Revolutionizing Conventional Theatre and Redefining Norms." SMART MOVES JOURNAL IJELLH 9, no. 2 (February 27, 2021): 219–25. http://dx.doi.org/10.24113/ijellh.v9i2.10966.
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Samuel Beckett’s play Waiting for Godot revolutionized the conventional theatre and redefined norms which shaped twentieth century drama. The play launched an absurdist style of writing on the landscape of drama which gave the life of performance to the intellectual existentialist ideals of Soren Aabaye Kierkegaard´s and Jean-Paul Sartre´s philosophy. This research paper analyses the elements of Existentialism with respect to supportive evidence from the play.
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Gorinova, N. V. "Plays by Alexey Popov: the experimenting beginning in modern Komi drama." Bulletin of Ugric studies 10, no. 3 (2020): 426–35. http://dx.doi.org/10.30624/2220-4156-2020-10-3-426-435.
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Introduction: the article is devoted to the study of creativity of Alexey Popov, the well-known playwright in the modern theater world of Komi. In the context of the Komi drama, his plays are characterized by a desire for experiment, revealing new opportunities for the Komi theater art in disclosure and evaluating the contradictions of the changing reality. In the genre and style direction, his texts develop the trends of the so called «new drama» in Komi literature, which at the turn of the XX–XXI centuries is tightly rooted on the stage of Russian theaters. Objective: to present the analytical review of A. Popov’s dramatic art. Research materials: drama works by A. Popov. Results and novelty of the research: the analysis of A. Popov’s works reveals the author’s attraction to the experiment, his desire to break away from the traditions that have developed in the Komi theatre art. New artistic phenomena for the Komi drama are the plays developed by A. Popov (and other playwrights of the turn of the XX–XXI centuries) with an enhanced metaphorical beginning, a play with elements of naturalism, the genres of tragicomedy, a play for reading, a remake play, and an absurdist play. In the dramas of A. Popov, the character of a hero and the ways of its construction change; to reveal the character of a hero, the author uses such artistic technique as intrigue. New for the Komi drama aesthetic phenomena reflect the crisis state of public consciousness of the turn time. The author’s artistic achievements precede new directions in the development of Komi drama. The scientific novelty of the work lies in the fact that for the first time it provides the systematic analysis of A. Popov’s dramatic work, presents the genre and stylistic originality of his plays, shows the specifics of his characters and ways to build conflict in plays.
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CHEPUROV, ALEXANDER. "The theft of happiness: new Russian drama and the theatre." European Review 9, no. 3 (July 2001): 347–54. http://dx.doi.org/10.1017/s1062798701000321.
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The Russian theatre has undergone several phases of development since the demarcation from the past, as represented by Alexander Vampilov. To begin with, the theatre preferred dramatization of modern literature, but this gave way to consideration of the paradoxes of life, often absurdist. Then, with the end of the Soviet system, there were the chernukha, black plays, particularly of Shipenko, Ugarov and Knjazev. More recently still, the ‘scenic reading’ of plays explored the suitability of various life-conflicts for drama. ‘August’ by Timophei Khmeljev concerned the inhabitants of an old dacha near Moscow. The pattern was related to Chekhov and Nietzsche. Kazantsev's ‘That this world’ and Razumovskaya's ‘Biography’ concerned life after death. Alexander Stroganov's ‘Ornithology’ relates human and bird life. Russian drama is in a very active and explorative phase, trying to catch a lost happiness.
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Voigts, Eckart, and Merle Tönnies. "Posthuman Dystopia: Animal Surrealism and Permanent Crisis in Contemporary British Theatre." Journal of Contemporary Drama in English 8, no. 2 (November 3, 2020): 295–312. http://dx.doi.org/10.1515/jcde-2020-0024.
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AbstractThe paper situates current developments in British theatre within wider trends towards dystopia and (post-)apocalyptic writing. A central focus is on the role of posthuman elements in dystopian plays which are used to create a constant and pervasive, but mostly unspecific sense of crisis. Two recent works by female playwrights – Dawn King’s Foxfinder (2011) and Stef Smith’s Human Animals (2016) – are compared and related back to Caryl Churchill’s seminal Far Away (2000) to elucidate how the nonhuman comes to be perceived as a threat and how this leads to, and/or supports, a dystopian system and its violent measures. Moreover, both Foxfinder and Human Animals manage to combine absurdist elements that border on the surreal with more or less pronounced didactic implications for the audience, although these connections are realised in different ways by the two playwrights. In this manner, post-apocalyptic dystopian theatre of the early 21st century can become revolutionary rather than regressive.
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Sundén, Jenny, and Susanna Paasonen. "“We have tiny purses in our vaginas!!! #thanksforthat”: absurdity as a feminist method of intervention." Qualitative Research Journal 21, no. 3 (March 18, 2021): 233–43. http://dx.doi.org/10.1108/qrj-09-2020-0108.
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PurposeAccording to thesaurus definitions, the absurd translates as “ridiculously unreasonable, unsound, or incongruous”; “extremely silly; not logical and sensible”. As further indicated in the Latin root absurdus, “out of tune, uncouth, inappropriate, ridiculous,” humor in absurd registers plays with that which is out of harmony with both reason and decency. In this article, the authors make an argument for the absurd as a feminist method for tackling heterosexism.Design/methodology/approachBy focusing on the Twitter account “Men Write Women” (est. 2019), the rationale of which is to share literary excerpts from male authors describing women's experiences, thoughts and appearances, and which regularly broadens into social theater in the user reactions, the study explores the critical value of absurdity in feminist social media tactics.FindingsThe study proposes the absurd as a means of not merely turning things around, or inside out, but disrupting and eschewing the hegemonic logic on offer. While both absurd humor and feminist activism may begin from a site of reactivity and negative evaluation, it need not remain confined to it. Rather, by turning things preposterous, ludicrous and inappropriate, absurd laughter ends up somewhere different. The feminist value of absurd humor has to do with both its critical edge and with the affective lifts and spaces of ambiguity that it allows for.Originality/valueResearch on digital feminist activism has largely focused on the affective dynamics of anger. As there are multiple affective responses to sexism, our article foregrounds laughter and ambivalence as a means of claiming space differently in online cultures rife with hate, sexism and misogyny.
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Voigts, Eckart. "Tom Stoppard: European Phantom Pain and the Theatre of Faux Biography." Humanities 10, no. 2 (June 1, 2021): 80. http://dx.doi.org/10.3390/h10020080.
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The paper reads Stoppard’s work in the 21st century as further testimony of the gradual politicisation of his work that began in the 1970s under the influence of Czech dissidents, and particularly as a result of his visits to Russia and Prague in 1977. It also provides evidence that Stoppard, since the 1990s, had begun to target emotional responses from his audience to redress the intellectual cool that seems to have shaped his earlier, “absurdist” phase. This turn towards emotionalism, the increasingly elegiac obsession with doubles, unrequited lives, and memory are linked to a set of biographical turning points: the death of his mother and the investigation into his Czech-Jewish family roots, which laid bare the foundations of the Stoppardian art. Examining this kind of “phantom pain” in two of his 21st-century plays, Rock’n’Roll (2006) and Leopoldstadt (2019), the essay argues that Stoppard’s work in the 21st century was increasingly coloured by his biography and Jewishness—bringing to the fore an important engagement with European history that helped Stoppard become aware of some blind spots in his attitudes towards Englishness.
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Dima, Vlad. "Waiting for (African) Cinema: Jean-Pierre Bekolo’s Quest." African Studies Review 62, no. 1 (June 28, 2018): 49–66. http://dx.doi.org/10.1017/asr.2017.153.
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Abstract:Throughout his career, Cameroonian director Jean-Pierre Bekolo has been searching for cinema; not African cinema, just Cinema. In order to explain properly this claim, the essay will first consider Bekolo’s work within the context of the ever-ongoing conversation regarding the framing and aesthetics of African and Third Cinemas. Second, for a closer perspective on what will be termed “neurotic cinema,” the essay will key on Bekolo’s latest effort, Naked Reality (2016), a purposely unfinished work that echoes absurdist theater, mimics frantic contemporary thought, and proposes that cinema should not yield finalized products because that may go against its very nature.
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Gottlieb, Vera. "Why This Farce?" New Theatre Quarterly 7, no. 27 (August 1991): 217–28. http://dx.doi.org/10.1017/s0266464x00005728.
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In exploring the repertoire of farce from its nineteenth-century exponents in France and England through the ‘typically British’ pre- and post-war varieties at the Aldwych and the Whitehall, to the work of such contemporary exponents as Alan Ayckboum and Michael Frayn, Vera Gottlieb also analyzes the ways in which ‘mechanistic’ or ‘clockwork’ kinds of farce are philosophically akin to absurdist drama. She suggests that English approaches to Chekhov have overlaid his work with similar assumptions – as in the contention of Michael Frayn, himself both a Chekhov translator and a highly successful farceur, that Chekhov's characters are ‘reduced by their passions to the level of blind and inflexible machines’. In arguing that this is not the case, she elaborates a crucial distinction between farces which, in effect, assume the impotence of human aspirations, and those in which behaviour derives from character rather than from imposed situations, thus offering at least the potential for change. Vera Gottlieb is Professor of Drama at Goldsmiths’ College, University of London, and the author of Chekhov and the Vaudeville (Cambridge, 1982) and Chekhov in Performance in Russia and Soviet Russia (Chadwyck-Healey, 1984). She was also translator and director of A Chekhov Quartet, first seen at the New End Theatre, London, in 1990, and subsequently at the Chekhov Festival in Yalta and the GITIS Theatre in Moscow.
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Denooz, Laurence. "La relativité du Temps et de l’Espace dans le théâtre lā-maqūl de Tawfīq al-akīm." Arabica 58, no. 5 (2011): 387–403. http://dx.doi.org/10.1163/157005811x575816.
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AbstractA comparison of The Tree Climber with other plays by Tawfīq al-Ḥakīm (1898-1987) tends to challenge claims that it is a pivotal text in the author’s literary career, and an emblem of Absurdism. Tawfīq al-Ḥakīm himself associates his play with a form of “intellectual popular irrealism” or “irrational theater”, which three distinct elements of his work come to confirm: a) the recurrence of the juxtaposition of two animated short scenes, distinct in both Time and Space; b) the invariability of his philosophical and political message throughout his work; c) the unending fight against spatio-temporal Determinism, coupled with the repeated affirmation of the relativity of the perception of Time and Space.
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Welborn, Laurence. "PAUL'S APPROPRIATION OF THE ROLE OF THE FOOL IN 1 CORINTHIANS 1–4." Biblical Interpretation 10, no. 4 (2002): 420–35. http://dx.doi.org/10.1163/15685150260340770.
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AbstractThis essay suggests that Paul's acceptance of the role of the "fool," and, arising out of this, his evaluation of the message of the cross as "folly," are best understood against the background of the popular theater and the fool's role in mime. The interpretation is, therefore, a corrective to the traditional view that the proclamation of the crucified Christ was an absurdity to the people of the ancient world. The essay also offers an alternative to the attempt, in some recent monographs and commentaries, to subsume Paul's "foolishness" under the category of the anti-rhetorical. The essay argues that the term "folly" was generally understood as a designation of the attitude and behavior of a particular social type, the lower class buffoon. As a source of amusement, these lower class types were widely represented on the stage in the vulgar and realistic comedy known as the mime. The essay suggests that Paul's Corinthian detractors labeled him as a "fool," in contrast to the eloquent and sophisticated Apollos. Paul's acceptance of the role of the fool mirrors the strategy of a number of intellectuals in the early Empire, who exploited the paradoxical freedom which the role permitted for the utterance of a dangerous truth.
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Gapchuk, Julia. "Absurdist Drama in Directing Practice of Independent Theaters of Kyiv in the Late 1980s — Early 1990s." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2-3(47-48) (August 20, 2020): 222–34. http://dx.doi.org/10.31318/2414-052x.2-3(47-48).2020.213415.
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Muraveva, Alla Vladimirovna. "From absurdisation to subjectification in the play “Terrorism” by the Presnyakov Brothers." Vestnik of Kostroma State University 27, no. 2 (June 28, 2021): 150–55. http://dx.doi.org/10.34216/1998-0817-2021-27-2-150-155.
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The article is devoted to the functioning of absurdist elements and the ways of their organisation in the play “Terrorismˮ by the Presnyakov brothers, as well as to the illustration of subjectivity as one of the most significant categories for the “new new dramaˮ. The emphasis in the work is on paratextual elements, primarily remarks. At the beginning of the study, the thesis about the belonging of “Terrorismˮ to the “new dramaˮ of the 21st century is confirmed, and therefore, about the specificity of the compositional and plot organisations. The article is based on a textual analysis of the theatre note element, which allows us to trace the formation and forms of existence of absurdist components, as well as the emergence of various forms of subjectivity. In the process of analysis, a list of means and techniques of absurdisation is determined, among which the main ones include the elaboration of the structure of the utterance (violation of logic, slowing down the action by introducing similar or tautological constructions), working with the lexical component (various types of artistic shifts, as well as the frequency introduction of modal components). It is proved that the fictionalisation of the play through the inclusion of the lyrical component in the text violates the way of reading and allows one to partially correlate the drama with the play for reading, which, in turn, increases the interpretativeness of the text and makes it possible to talk about the introduction of the reader's figure into it. The conclusion is made about the correlation of the processes of absurdisation and subjectification in the space of the play. The absurd, in turn, is designated as an element that determines the type of perception; a component that contributes to the multiplication of forms of subjectivity; spatial and textual dominant, demonstrating the relationship of the text of the play with reality.
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Kalenichenko, O. N. "Fernand Crommelynck’s dramaturgy and its interpretation by Vsevolod Meyerhold and Les Kurbas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 102–14. http://dx.doi.org/10.34064/khnum1-51.05.
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Background. The modernist dramaturgy of Fernand Crommelynck allows some literary critics to attribute it to symbolism: continuing the symbolist traditions, the author builds his works “on the development of an abstract position, personified by dramatic characters that can be perceived both as living people and as figurative designations of concepts” [8]. Other researchers believe that the F. Crommelynck’s works are expressionistic, since the Crommelynck Theater is “poetic, but full of pathos, hyperbolized images, in the characteristics of his personages exaggeration is brought to the point of absurdity” [2]. Some scientists attribute Crommelynck to surrealism because the playwright is one of the burlesque theater renovators [3]. At the same time, there is an opinion that a number of later plays by the playwright anticipate the aesthetics of the theater of the absurd [11]. Ambiguously critics evaluate the genre features of Crommelynck’s plays. They are also interpreted as “psychological dramas that combine farce and tragedy”, therefore “the characters of Crommelynck’s plays are tragic jesters, the embodiment of the “eternal” principles of love, jealousy, and stinginess. His highlight is human passions, paradoxes, absurdity” [15]. His pieces are considered and as varieties of drama filled with elements of the grotesque, and “characters often act as personifications of certain moral qualities: jealousy (“Le Cocu magnifique” – “The Magnanimous Cuckold”), stinginess (“Tripes d’or” – “The Golden Womb”), played out virtues (“Carine, ou la jeune fille folle de son âme” –“Carine, or the Mad Girl of self soul”)”, etc. [11]. Neither Vsevolod Meyerhold (production of the play “The Magnanimous Cuckold” in 1922), nor Les Kurbas (production of the play “The Golden Womb” in 1926), who were innovators in theatrical field, revolutionists of the Soviet theater, could not pass by the creativity of the contemporary modernist playwright. The purpose of this study is to identify the peculiarities of the Crommelynck’ dramas produced by stage directors and the lines of the pioneering searches of two great representatives of the theater went when staging Crommelynck’s plays. Methods. The basis of the research methodology is historical analysis. Results. Meyerhold, as shown by his notes and the memoirs of his contemporaries, moved in the 1920s in his theatrical searches went towards formalist experiments, in particular, constructivism and biomechanics. According to the director, the Crommelynck’ grotesque-farcical play “The Magnanimous Cuckold” on the theater stage, saturated with complex diverse physical movements of the actors, was supposed to show one of the workers’ leisure activities. Les Kurbas, also seeking to radically renew the Ukrainian stage, relied on a completely different theatrical concept. Speaking for an active-revolutionary life installation, for the restructuring of social psychology and, consequently, for spiritual and moral values, Kurbas in his articles and conversations called for fighting the limited outlook of the Nepmen and provincial inhabitants who only think about endless prosperity [9; 10]. Realizing his concept in life, it is not by chance that the director chooses for the premiere of the first season of “Berezil” in Kharkov the play “Tripes d’or” (“The Golden Womb”) just written by Crommelynck (1925). Note that “Tripes d’or” in its content is much more complicated than the “Le Cocu magnifique”. In our opinion, the playwright, using allusions to the work of European prose writers of the XIX century, seeks to show that even an honest and decent person, becoming the owner of a large inheritance, will begin to degrade morally; gold, sooner or later, will become a fetish. Moreover, in “Tripes d’or” it is quite clearly shown that the uncle of Pierre-Auguste himself (the hero of the piece) – AnnaRomainHormidas deGutem– passed through the temptation of wealth. Hormidas’ niece Melina, who eventually got the “throne” with a pottery filled with gold dust, will also pass along this path. In addition, Crommelynck in his play reveals a number of stages of Pierre-Auguste’s painful struggle with the attractive power of gold: from understanding that gold will soon turn into a dragon that will kill a knight, through the realization that “gold in itself is fascinating”, to recognition: “I want to destroy everything ... what is near money .. so that there is no – neither the past, nor the present, nor the future ...” [7: 149, 160]. At the same time, the author in a number of scenes departs from the tragic pathos and appeals to the grotesque, which allows in the “Tripes d’or” to organically combine the real and the fantastic. Thoughtfully approaching the text of the play, Kurbas saw in its plot not the single tragedy of Pierre-Auguste, on which a huge inheritance had suddenly fallen, but a rather common phenomenon in the world of ordinary people thinking only of profit. Therefore, the director chooses not a psychological disclosure of characters, but a grotesque beginning, which allows exposing the thinking of the Nepmen and bourgeois living in petty, personal interests. The original design of the play “The Golden Womb”, semi-grotesque and half-realistic costumes of the actors, their playing and characters’ associations with animals to clarify the understanding of the stage images – all this, on the one hand, exposes the mercantile consciousness of the modern tradesman, on the other – discloses the original approach of the director to modernist text. Conclusions. By turning to modernist dramaturgy and relying on the modern possibilities of the avant-garde theater, both outstanding directors created original productions. If Meyerhold, during this period, was interested in formal experiments and revealing the possibilities of constructivism and biomechanics, so for Kurbas, who was also interested of constructivism, nevertheless, other tasks came to the fore. It was necessary for him to bring up a new theater audience in a short time: to change philistine psychology demonstrating new horizons for the development of public life and the wide possibilities of man in it. It is evidently, that the analysis of the new European dramaturgy and new experiments in the Soviet theater of the 1920–1930s is not limited to what has been said, and further careful study of these problems is required.
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Wilcox, Dean. "Theatre of Chaos: Beyond Absurdism Into Orderly Disorder. By William W. Demastes. Cambridge: Cambridge University Press, 1998; pp 190. 18 illustrations. $54.95 hardcover." Theatre Survey 39, no. 2 (November 1998): 148–50. http://dx.doi.org/10.1017/s0040557400010334.
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Sierz, Aleks. "William W. Demastes Theatre of Chaos: Beyond Absurdism, into Orderly ChaosCambridge: Cambridge University Press, 1998. 184 p. £35.00. ISBN 0-521-58245-8." New Theatre Quarterly 15, no. 4 (November 1999): 342–43. http://dx.doi.org/10.1017/s0266464x00013336.
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Zlotnikova, Tatiana S. "Philosophy and the Drama of Life: A Theater Experience of Understanding F.M. Dostoevsky." Observatory of Culture 18, no. 3 (July 22, 2021): 228–39. http://dx.doi.org/10.25281/2072-3156-2021-18-3-228-239.
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The article aims at a multidimensional discussion of the little-explored topic of the dramatic content of the philosophical problems in the works of F.M. Dostoevsky (1821—1881). There is proved that it was this feature of creativity that made the writer, with his philosophy of life and sharp, dramatically effective plot and psychological collisions, the most desirable and very productive author for the Russian theater art.Polyphony, dialogism, combined with the features of the tragic genre, are the basis for numerous theatrical embodiments of novels and novellas by F.M. Dostoevsky. The intensity of the action in his works gave rise to the expressions “novel-drama” or “drama in a novel”, “novel-tragedy”, and in theatrical practice it created the ground for the transformation of moral and philosophical problems into active stage action.The article reveals the context of F.M. Dostoevsky’s works — the time and conditions for the emergence of novels and novellas, the problem field that united and separated him from the works of his predecessors and contemporaries, which is done on the basis of a brief description of several aspects of the philosophical-aesthetic and socio-moral systems. In this context, according to our concept, a special place is occupied by the idea that life in Russia is absurd and ridiculous, and the reflection of the absurd is the most important artistic paradigm.The article proves that the analyzed philosophy of F.M. Dostoevsky’s life received polar genre embodiments in the theater. Thus, the dramatic and melodramatic beginning was characteristic of the performances that had in their center the so-called little man. The article presents an understanding of the most remarkable performances of the second half of the 20th and the beginning of the 21st century: “The Idiot” by G. Tovstonogov, with a new trend of searching for a “positively beautiful” person, which had a significant impact on many theatrical experiences in Russia; “The Petersburg Dreams” by Yu. Zavadsky, as a unique experience for Soviet art of creating a tragic work in full accordance with the aesthetic characteristics of this genre; “And I Will Go, and I Will Go” by V. Fokin, as the last emotional outburst of the young generation of Soviet creators who thought in the moral and psychological parameters of F.M. Dostoevsky’s characters; “The Karamazovs” by K. Bogomolov — a postmodern experience of an absurdist reading of the multifaceted text of the classic.In the works of the writer and their theatrical embodiment, the article notes the signs of a carnival worldview, a combination of grotesque and subtle psychologism in the stage versions of F.M. Dostoevsky (in particular, when working with ironic and satirical texts, “Uncle’s Dream” and especially “The Village of Stepanchikovo”, where sympathy and negative connotations are integrated into a single artistic space). The article correlates the writer’s works existential interpretations by theatrical creators of the 20th and early 21st centuries with socially significant problems, life choices, and dramatic conflicts that characterize Dostoevsky’s philosophy.
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Ranilla Rodríguez, Miguel. "El devenir del arte como lugar de la revalorización del espacio útil de la creatividad y del pensamiento crítico para un diseño pedagógico relacionado con las artes: lugar de inspiración del artist teacher = The rendering of art as a place of revaloration of the useful space of creativity and critical thinking for a pedagogical design related to the arts: inspiration site for the artist teacher." ArDIn. Arte, Diseño e Ingeniería, no. 7 (July 25, 2018): 94. http://dx.doi.org/10.20868/ardin.2018.7.3760.
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ResumenEl presente artículo quiere reflexionar sobre el cómo diseccionando el panorama del arte actual, fundamentándonos en pensadores partidarios en instaurar su declive como poder cultural potencial, podemos recuperar de la manera más sensible el verdadero valor del arte contemporáneo e instaurarlo dentro del marco de la educación; recuperando lo utilitario y elevando su condición al grado de lo fundamental.El en lugar del arte, muchos son por tanto los creadores transformados en artistas lo que llevan a las aulas la pretensión por fomentar el pensamiento crítico, por querer enseñar arte.A este tenor, el método para enseñar las artes pasa entonces por desestimar las artes y situarlas en su contexto ideológico actual; enfrentar este absurdo -que tiene de creación y permutación fútil- al lugar en que la intención se transforma en un acto de reflexión creativa ligada a la nadería. Y de ese lugar de las cenizas, empoderar al arte y alumno en el proceso meramente creativo para esclarecer que el arte en la pedagogía, se transforma con el objetivo de (re)crear para explicar; y de esa flexibilidad se empodera lo inefable perdido del arte.AbstractThis article wants to reflect on how to dissect the current art panorama,based on ourselves on party thinkers in establishing its decline as a potential cultural power, we can recover in the most sensitive way the true value of contemporary art and establish it within the framework of education; recovering the utilitarian and elevating its condition to the degree of the fundamental.In place of art, many are the creators transformed into artists that lead tothe classroom the pretension to encourage critical thinking, for wanting to teachart.To this extent, the method to teach the arts then passes by rejecting thearts and placing them in their current ideological context; to confront this absurdity - which has a futile creation and permutation - to the place in which the intention is transformed into an act of creative reflection linked to the nudity. And from that place in the ashes, to empower art and student in the purely creative process to clarify that art in pedagogy is transformed with the aim of (re) creating to explain;and from that flexibility is empowered the ineffable lost of art.
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Степовая, Валерия Игоревна. "ENGLISH-LANGUAGE RECEPTION OF N. V. GOGOL’S COMEDY “THE GOVERNMENT INSPECTOR” IN THE TRANSLATION INTERPRETATION BY K. GARNETT." Tomsk state pedagogical university bulletin, no. 5(211) (September 7, 2020): 192–205. http://dx.doi.org/10.23951/1609-624x-2020-5-192-205.
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Введение. Выбор подхода к анализу художественного перевода объясняется тем, что интерпретация при переводе предполагает со-творчество переводчика и автора оригинального произведения, благодаря чему может возникнуть его новое понимание. Цель статьи – выявить отличия между авторской интерпретацией комедии «Ревизор» и ее переводческой интерпретацией К. Гарнетт. Это позволит проследить смысловые трансформации произведения при е го вхождении в англоязычную культуру. Материал и методы. Материалом исследования является комедия Н. В. Гоголя «Ревизор» и ее перевод на английский язык, выполненный британской переводчицей К. Гарнетт. В основе методологии настоящего исследования – сравнительно-сопоставительный метод, а также метод изучения перевода с точки зрения понятия «переводческой интерпретации». Результаты и обсуждение. Переводчица не выделяет название «Немая сцена» в отдельный заголовок и пишет его мелким курсивом слитно с предыдущим текстом. Это снижает ее значимость для английских читателей. Кроме того, К. Гарнетт в переводе пьесы убирает деление на явления, которое поддерживает классицистическую симметричность и правильность архитектоники, демонстрируя при этом заданность бытия, его подчиненность божественному замыслу. Это позволяет предположить, что в восприятии переводчицы уже не существовало изначально гармоничных законов бытия человека. Что касается антропонимики, все имена и фамилии персонажей передаются К. Гарнетт с помощью транслитерации. Это значит, что для англоязычного читателя их «говорящее» значение утрачивается. Такой способ перевода также может иметь более глубокое значение. В оригинальном произведении героев объединяет их причастность к пороку, символическим воплощением которого они являются. Связывает их и общее ожидание расплаты за свои деяния и, несомненно, принадлежность к одному народу, поскольку этот вопрос был важен для Гоголя. В то же время в этом воплощается и влияние на него традиций романтизма. В комедии единство народа демонстрирует, в частности, общий национальный характер героев. Наличие и характер порока в каждом отдельном случае выражаются в числе прочего посредством фамилии персонажа. Но поскольку при транслитерации в переводе эта семантика утрачивается, связующая нить становится уже не такой очевидной для англоязычного читателя. Утрате изначальной семантики принадлежности героев к единому народу способствует и перевод фразеологических оборотов, пословиц и поговорок, встречающихся в тексте оригинала. В переводе К. Гарнетт идиоматичность речи героев, указывающая на их народный характер, была в значительной степени редуцирована. Аналогичной особенностью является частая замена просторечных выражений героев лексемами литературного языка. В связи с этим речь персонажей становится в большей степени нейтральной и теряет свою выразительность. Из-за преобладающего количества подобных трансформаций характеры героев в переводе комедии сложно назвать народными. Относительно перевода российских реалий нужно отметить, что К. Гарнетт заменила многие из них английскими. И хотя нельзя говорить, что это относится ко всем реалиям, однако таких абсолютное большинство, что не может не влиять на читательское восприятие. Помимо прочего, К. Гарнетт добавляет в список действующих лиц Жандарма, что не соответствует замыслу Гоголя, до мельчайших подробностей продумавшего все детали своей комедии. Жандарм в комедии выступает как «вестник Страшного суда», и в его фигуре проявляется «надличностная сила», именно поэтому он и отсутствует на сцене. Однако появление в списке действующих лиц в тексте перевода полностью лишает его возможности воплощать десницу Божию. В совокупности с нивелированием значимости «Немой сцены» это лишает комедию ее подлинного смысла, который стремился выразить Гоголь. Заключение. Возникновение подобного варианта перевода комедии можно связать с тем, что работа К. Гарнетт приходится на начало эпохи модернизма, «коренным свойством литературы которого является, в частности, убеждение в замкнутости, отчужденности и конечной абсурдности каждого индивидуального существования и всего макрокосма действительности». Это во многом способствует формалистическому подходу к вопросам поэтики, который в данном случае и избирает переводчица. Это выражается в том, что К. Гарнетт воспроизводит текст без учета влияния контекста биографии автора и его взглядов. Нельзя сказать, что в достаточной мере был учтен культурно-исторический контекст оригинала и восприятие Гоголем литературных традиций. Трансформации при переводе привели к тому, что персонажи воспринимаются как части безликой толпы, каждого члена которой ничто между собой не связывает, а не как народ, черпающий одухотворенность в своем единстве. Герои по-прежнему вместе ожидают ревизора, но смысл его появления теряет свое сакральное значение кары Божьей. В такой интерпретации существование героев комедии предстает абсурдным и даже в некоторой степени трагическим, поскольку не намечается ни позитивной, ни негативной динамики. Таким образом, хотя изначальный авторский смысл не был воссоздан К. Гарнетт в переводе «Ревизора» на английский язык, можно констатировать, что возник новый, передающий мироощущение безысходности рубежа XIX−XX вв. Introduction. The choice of approach to the analysis of literary translation in this article is explained by the fact that interpretation in translation involves co-creation of the translator and the author of the original work, so that a new understanding of it can arise. Aim and objectives. The aim of the article is to identify the differences between the author’s interpretation of the comedy “The Government Inspector” and its translation interpretation by K. Garnett. It will allow us to see the semantic transformations of the work as it penetrates into the English-speaking culture. Material and methods. The material of the research is the comedy “The Government Inspector” by N. V. Gogol and its translation into English, made by the British translator K. Garnett in 1926. The methodology of this research is based on a comparative method, as well as a method for studying translation through the concept of “translation interpretation”. Results and discussion. The translator does not put the name “Silent scene” in a separate title and writes it in small italics merged with the previous text. This reduces its significance for English readers. In addition, K. Garnett in the translation of the play removes the division into scenes, which supports the classical symmetry and correctness of architectonics, while demonstrating the subordination of being to the divine plan. This suggests that in the understanding of the translator there were no initially harmonious laws of human existence. As for anthroponomy, all the names and surnames of the characters are conveyed by K. Garnett using transliteration. This means that for the English-speaking reader, their “speaking” meaning is lost. At the same time, this method of translation may also have a deeper meaning. In the original work, the characters are united by their involvement in vice, the symbolic embodiment of which they are. They are also connected by a common expectation of punishment for their actions and, undoubtedly, by belonging to the same people, since this issue was important for Gogol. It embodies the influence of the romanticism traditions on him. In comedy, the unity of the people demonstrates, in particular, the common national character of the dramatic personae. The presence and nature of the vice in each individual case is expressed, among other things, by the name of the character. But since this semantics is lost due to transliteration in translation, the connecting thread becomes less obvious to English-speaking reader. The loss of the original semantics of belonging of heroes to a common nation is facilitated by the translation of phraseological phrases, proverbs and sayings found in the original text. In the translation by K. Garnett, the idiomatic speech of the characters, indicating their folk character, was largely reduced. A similar feature is the frequent replacement of colloquial expressions of heroes with lexemes of the literary language. Therefore, the characters’ speech becomes more neutral and loses its expressiveness. Due to the prevailing number of such transformations, the characters of the dramatic personae in the translation of the comedy can hardly be called folk. Regarding the translation of Russian realities, it should be noted that K. Garnett replaced many of them with English ones. And although we cannot say that this applies to all realities, but they are the absolute majority, which cannot but affect readers reception. Among other things, K. Garnett adds a Gendarme to the list of actors, which does not correspond to Gogol’s conception. The Gendarme in the comedy acts as a “herald of the Last judgment” and his figure shows “transpersonal power”, which is why he is not on the stage of the theater. However, the appearance of the Gendarme in the list of actors in the translation text completely deprives him of the opportunity to embody the hand of God. Together with the “Silent scene” leveling this deprives comedy its significance and true meaning, which Gogol sought to express. Conclusion. The emergence of such a version of the comedy translation can be attributed to the fact that K. Garnett worked at the beginning of the modernist era, “the root characteristic of the literature of which is, in particular, the belief in the isolation, alienation and ultimate absurdity of each individual existence and the entire macrocosm of reality”. This largely contributes to the formalistic approach to poetics, which in this case is chosen by the translator. This is expressed in the fact that K. Garnett reproduces the text without taking into account the influence of the author’s biography and views. It cannot also be said that the cultural and historical context of the original and Gogol’s reception of literary traditions were sufficiently taken into account. Transformations in translation have led to the fact that characters are perceived as part of a faceless crowd, each member of which is not connected by anything, and not as people drawing inspiration from their unity. The characters are still together waiting for the Government Inspector, but the meaning of his appearance loses its sacred meaning of God’s punishment. In this interpretation, the existence of comedy characters appears absurd and even tragic to some extent, since there is no positive or negative dynamics. Thus, although the original author’s meaning was not recreated by K. Garnett in the translation of “The Government Inspector” into English, it can be stated that a new one that conveys a sense of hopelessness at the turn of the XIX−XX centuries has emerged.
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Prusdianto. "Seni Pertunjukan Teater Asera Berdasarkan Mitos To Balo, Suku Bentong Sulawesi Selatan." Resital: Jurnal Seni Pertunjukan 13, no. 1 (November 2, 2013). http://dx.doi.org/10.24821/resital.v13i1.498.
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Teater tentang absurditas dengan paradoksnya yang aneh merupakan sebuah gejala dari apa yang mungkin paling mendekati pencarian relijius murni, yaitu suatu usaha manusia menyadari realitas mutlak kondisinya, dan mengajarkan kembali kepadanya makna keajaiban kosmis yang hilang dan kegalauan purba. Penciptaan pertunjukan teater Asera mengambil ide tentang kematian yang ditentukan oleh jumlah Sembilan. Ide tersebut terinspirasi dari mitos yang ada pada To Balo, suku Bentong yang berada di Sulawesi Selatan. Hal yang mendasari penciptaan Asera ini adalah keinginan untuk mengangkat sebuah permasalahan yang mengingatkan kita akan kematian. Sebuah proses dalam kehidupan yang sebenarnya mutlak akan dialami oleh manusia, akan tetapi sering dilupakan keberadaanya. Selain menjadikan warisan mitos sebagai sumber ide penciptaan, juga memberikan warna dan corak baru dalam dunia seni, khususnya seni teater. Teater adalah dunia imajinasi dari kehidupan yang sebenarnya.Kata kunci: Teater, Asera, absurd, To Balo, Bentong.ABSTRACTThe Performing Arts of theater Asera based on the myth of To Balo, Bentong tribe South Sulawesi. The absurdity of theatre with its weird paradox is as a phenomenon of what is probably as the closest quest to the purity of religiousity that is a human’s effort to realize the reality of his absolute condition, and to teach him back the meaning of the missing remarkable cosmic and the ancient confusion. The creation of theater performance Asera takes an idea of death which has been decided by number nine. This idea was fi rst inspired from a myth that exists in To Balo, a Bentong tribe lives in South Sulawesi. The basic creating idea of Asera is a willingness to discuss a problem that reminds us to the death. A process in a real life will be absolutely experienced by man, but its existence will often be forgotten. In addition to makinga myth heritage as a source of creating ideas, it also gives the new colours and characteristics in the world of arts, especiallyin the art of theater. However, theater is the real life imagination.Keywords: Theatre, Asera, absurd, To Balo, Bentong.
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Amborowati, Gradhina. "PEMERANAN TOKOH RATU MAHRIT DALAM NASKAH RAJA MATI KARYA EUGÈNE IONESCO TERJEMAHAN IKRANAGARA." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 16, no. 1 (August 5, 2019). http://dx.doi.org/10.24821/tnl.v16i1.3125.
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This paper explains about the immersion process for acting the role of Queen Mahrit by Eugène Ionesco. The concept from Theatre of the Absurd becomes the foundation of this acting process. Exit the King picks up the theme about Death that is perceived to be still relevant util now.Exit The King give us a message that life in this world is only for a while. We life from day by day, month by month, year by year always with destiny of death. The absurdity that we have gone through in this world lies on how we live in struggles that ends with death. Why is there life if there is death ? Because the reason for life also a reason for death, thus it is death who controls our life. When death has come to us, then our life in the world is finished. Key word : Exit the King, Absurd, Eugène Ionesco, Queen Mahrit.
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Włodarczyk, Jarosław. "‘Out of a greate laborinth of errors’: Lunar astronomy in London before Kepler." Notes and Records: the Royal Society Journal of the History of Science, March 3, 2021. http://dx.doi.org/10.1098/rsnr.2020.0058.
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Johannes Kepler is considered to be the first scholar to have offered an adequate description of heavenly phenomena observed on the Moon's sky. Kepler outlined his ideas in his Somnium ( The Dream ), written originally in 1609, and subsequently printed in the years 1630/34. Kepler's lunar astronomy was to expose the absurdity of the arguments that the geocentric theatre of heavenly phenomena proves that the Earth remains motionless. In this paper, I argue that at the turn of the seventeenth century the idea of the sky observed from the Moon's surface was explored in cosmological discourse far more often than it has been assumed so far. My argument derives from the manuscript treatise Astrostereon (1603) authored by an English astrologer and physician, Edward Gresham. Writing for the same purpose as Kepler but several years earlier, Gresham laid down the foundation of lunar astronomy. I also demonstrate the uses of lunar astronomy in astrological almanacs printed in London at the time when Kepler's ideas were not widely known.
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Lacroix, Fanny. "The domesticated Absurd." Journal for Transdisciplinary Research in Southern Africa 5, no. 1 (April 4, 2009). http://dx.doi.org/10.4102/td.v5i1.151.
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In this article, translation, linguistics, philosophy and cultural studies meet in order to discuss the translation of Absurdist theatre. The aim of this discussion is to determine whether the universal and philosophical message conveyed by most Absurdist plays is accurately rendered in translation. Although the Theatre of the Absurd expresses absurd thoughts through absurd language, it is not meaningless, but on the contrary seeks to make people aware of the anguished purposelessness of human existence. It is therefore essential that translations of Absurdist plays render this message in the target language in an equally absurd, yet meaningful way. Since all Absurdist plays cannot be taken into account in the scope of this article, a case study will be carried out, using Eugene Ionesco’s play La Cantatrice Chauve as focus. An evaluation of its English translation by Donald M. Allen, The Bald Soprano, is carried out in order to identify its strengths and weaknesses. Suggestions are made where relevant to enhance the translation or comment on its level of success.
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"Theatre of chaos: beyond absurdism, into orderly disorder." Choice Reviews Online 36, no. 01 (September 1, 1998): 36–0239. http://dx.doi.org/10.5860/choice.36-0239.
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Tönnies, Merle. "The Immobility of Power in British Political Theatre after 2000: Absurdist Dystopias." Journal of Contemporary Drama in English 5, no. 1 (January 1, 2017). http://dx.doi.org/10.1515/jcde-2017-0012.
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AbstractThe paper focuses on the twenty-first-century resurgence of political concerns in British theatre, in the traditional (post-1950s) sense of criticising the unequal distribution of power in society. A key approach combines the seemingly incompatible genre characteristics of dystopia and the Theatre of the Absurd to foreground immobility, and two representative cases of such absurdist dystopias are studied in detail: Mark Ravenhill'sMobility is denied in a number of respects in these works: In contrast to earlier political theatre in Britain, the unjust hierarchies are not portrayed as changeable, and audiences are pointedly not supposed to be ‘moved’ by any clear-cut messages either. Moreover, the system representatives and their domestic relationships are shown to become increasingly static through the corrupting force of power, both literally and metaphorically. On the whole, these curiously abstract representations result in claustrophobic scenes, which can have profound indirect effects on the spectators. As the plays also allude to the developments in political discourse from New Labour onwards, the pervasive immobility on stage can at the same time be read as obliquely mocking the recurrent insistence on ‘change’ in the rhetoric of all major parties in Britain.
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Maurer, Nicholas. "Adamov's Alienation Effect: Showing the Absurdist Slant of Epic Theatre Aesthetic." Oregon Undergraduate Research Journal 9, no. 1 (2015). http://dx.doi.org/10.5399/uo/ourj.9.1.6.
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Parvaneh, Farid. "Social Upheavals as Absurdity: The Genealogy of the Theater of Absurd in Ubu the King by Alfred Jarry." Applied Linguistics Research Journal, 2019. http://dx.doi.org/10.14744/alrj.2019.27146.
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