Absurd Play

Absurd theatre came about as a reaction to world II. It took the basis of existential philosophy and combine it with dramatic element to create a style of theatre which presented a world which cannot be logically explained.

The absurdist play was initially created because critics and reviews were used to be more conventional: realism in practice. the absurd play departs from the realistic characteristic situation and all of the associated theatrical conventions. Time, place, and identity are ambiguous and fluid and even basic causality frequently breaks down. Meaningless plots repetitive or nonsensical dialogues and dramatic non-sequence are often used to create dreamlike or even nightmare life moods. There is a fine line, however between the careful and artful use of chaos and non-realistic elements and true, meaningless chaos. while many of the places described by this seem to be quite random and meaningless.

The character in the absurdist play is lost and floating in an incomprehensible universe and they abandon rational devices and discursive thought because these approaches are inadequate. Many characters appear as automatons stuck in runtime speaking only in cliche. Characters are frequently stereotypical, archetypal, or flat characters. In an absurd play, characters may also face the chaos of a world that science and logic have abandoned.

The plot of many plays features the character in interdependent pairs, commonly either two males or a male and a female. The two characters may be roughly equal or have a begrudging interdependence. One character may be dominant and may torture the passive character.

Language plays the most important role. Despite its reputation for nonsense language, much of the dialogue in the absurdist play is naturalistic. The movements when character restores their senses, when words appear to have lost their denotative function, thus creating misunderstanding among the characters. In other cases, the dialogue purposefully elliptical; The language of absurdist theatre becomes secondary to the poetry of the concrete and objectified image of the stage.

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