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The theatre of the absurd (French: théâtre de l'absurde [teɑtʁ(ə) də lapsyʁd]) is a post–World War II designation for particular plays of absurdist fiction written by a number of primarily European playwrights in the late 1950s. It is also a term for the style of theatre the plays represent.
Logical construction and argument within absurdist theatre gave way to characteristics of irrational and illogical speech and the ultimate conclusion of silence. The Theatre of the Absurd involves a fascination with absurdity in a range of forms; the existential, philosophical, emotional and dramaturgical.
Martin Julius Esslin OBE (6 June 1918 – 24 February 2002) was a Hungarian-born British producer, dramatist, journalist, adaptor and translator, critic, academic scholar and professor of drama, known for coining the term "theatre of the absurd" in his 1961 book The Theatre of the Absurd. This work has been called "the most influential ...
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He left Waseda Little Theatre in 1968, and in 1970 he married actress Yuko Kusunoki, an indispensable partner in many productions of Betsuyaku's work, especially in her small theatre group, the Snail Theatre Group Katatsumuri no Kai (1978–1799). In 1971 a daughter was born.
Some critics have argued that some of his work constitutes an American variant of what Martin Esslin identified as and named the Theater of the Absurd. [1] Three of his plays won the Pulitzer Prize for Drama and two of his other works won the Tony Award for Best Play. His works are often considered frank examinations of the modern condition.
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The Birthday Party has been described (some say "pigeonholed") by Irving Wardle and later critics as a "comedy of menace" [9] and by Martin Esslin as an example of the Theatre of the Absurd. [10] It includes such features as the fluidity and ambiguity of time, place, and identity and the disintegration of language. [10] [11]