Defining Theatre of the Absurd
by David Deloso
1. Key Features
1.1. Lack of Traditional Narrative
1.2. Secondary Source: "Beckett out of His Mind: The Theatre of the Absurd"
1.2.1. "Estragon and Vladimir in Waiting for Godot are nearly without attributes--aging tramps locked in a love/hate relationship and full of uncertainty about the time, place, and purpose of their existence"
2. Historical Context
2.1. Post WWII, 1950s
2.1.1. Does the year matter?
3. Character Motivations
3.1. Estragon and Vladimir have a purpose but find meaning in the occurrences along the way - do not accomplish their purpose
3.2. Pippin is searching for purpose but finds meaning along the way - does not find what he originally sought
4. Suicide Presented as an Answer
5. Secondary Source: "Sartre's "The Wall" and Beckett's Waiting for Godot: Existential and Non-Existential Nothingness"
5.1. Compares Waiting for Godot to another absurdist play - useful in determining which aspects of Waiting for Godot come from the genre and which ones are specific to the play
6. Waiting for Godot
6.1. Is Absurdist - Why?
6.1.1. Is Theater of the Absurd defined by themes or mechanics?
6.2. Suicide Presented as an escape
7. Pippin
7.1. Is not Absurdist - Why?
7.1.1. Shares themes with Waiting for Godot
7.1.1.1. Narrative too linear?
7.1.1.2. Pippin wants to escape the situation Estragon and Vladimir are in
7.1.1.2.1. Ultimately fails - enters into the absurd?
7.2. Secondary Source: "Pippin - Stephen Schwartz Answers Questions About the Show"
7.2.1. Reference to "Rosencrantz and Guildenstern are Dead," an absurdist play
7.2.1.1. "Stoppard's work was so influential on me"