Posted at 12.14.2018
'The Theatre of the Absurd' is a term coined by the theatre critic and scholar Martin Esslin for the work of many dramatists, mainly written in the 1950s and 1960s. The idea absurd actually means that something has gone out of harmony, for instance, in the music, whereas in everyday speech it just means that something is absurd. However, matching to Eugene Ionesco, 'the Absurd' refers to something purposeless. 'Slice off from his religious, metaphysical and transcendent origins, man is lost; all his actions become senseless, absurd, useless'. This philosophical process hails from Albert Camus, a French novelist and dramatist. He said, 'in a universe that is all of the sudden deprived of illusions and of light, man feels a stranger. ' The Theatre of the Absurd was strongly inspired by the inhuman, destroying occasions of the World Warfare II. With recording activities or the personas' mental, physical features in an absurd way and emphasizing how mechanised people's life is, playwrights intended to amaze people to be able to restore the value of misconception or religion to our age.
They used several solutions to gain something absurd, but the use of the terms has seemed to be the most important one. The role of the words can be flawlessly described in the famous dramatist, acting professional, scenarist and director Harold Pinter's dramas. First of all, he almost never uses dialogues that are, by the way, blended with many pauses and silences. These breaks can be marked in three ways on the printed web pages: a talk can be interrupted by three dots, or either the level direction 'Pause' or 'Silence'.
ASTON: II didn't have a very good nights again.
DAVIES: I slept bad.
ASTON: You were making.
DAVIES: Terrible. Got a little of rain in the night, didn't it?
ASTON: Just a little.
[He goes to his bed, accumulates a tiny plank and starts to sandpaper it. ]
DAVIES: Thought so. Can be found in on my head.
Draught's blowing directly on my head, anyhow.
Can't you close that screen behind that sack?
The dialogue is also hesitant, incoherent, banal, it often verbalizes the self-evident. The talk always seems to suggest more or (completely) other or amazingly significantly less than it actually says. It is very much like poetry: the rhythms, resonances and repetitions have their ample, essential functions in the whole work; therefore they lift this to the widespread. As Esslin cases, 'The spectator's sense of reality gets sharpened to the idea when he instantly perceives ordinary and everyday incidents with such intensity of understanding that they transcend themselves and become symbolic of a complete group of experience. '
The lack of explanations is another relevant feature in plays which are worried to be absurd; the dominating form of communication is made through the absence of direct description. Pinter does not seem to be to be didactic, rather he expresses the experience of man in 'being'; he portrayed man in fear, delight, humour, stupidity and ambition. Therefore people shouldn't ask what his has 'indicate'. He's not worried about making general statements, he said that they can sum up none of his works, the only thing they can do is the fact that he writes down in details what he experienced when observing and listening to his people.
From the start of The Caretaker, the utilization of genuine elements is a dazzling characteristic. The environment is definately not the chic country-house one. Inside the attic room every subject can be easily identifiable. However, most of these objects and also the clothing are mainly used in order to attain dramatic effects with them. Significant factors of personality development can be portrayed with these standard, unremarkable things, for example, handing over the door key to Davies highlights Aston's kindness and unselfishness, or Mick by posting his cheese sandwich with Davies deceives him into a fake sense of basic safety. And it is also important that the room with its things leads Davies to be ambitious (he may be the caretaker or just assist in the redecoration) but, on the other hand, it triggers his downfall, as well. Another natural feature is the continuous use of place-names or other local landmarks, which can keep the characters in an genuine world which is in the play the 1950s urban London: Shoreditch, Aldgate, Sidcup, Camden Town, Finsbury Playground, etc. In connection with the setting it is also relevant that there is no exposition at the start of the play, when Aston and Davies enter into the room, instead they can be introduced in a completely realistic way:
ASTON: Sit down.
DAVIES: Thanks a lot. [Looking about. ] Uuh
ASTON: Only a minute.
[Aston appears around for a seat, sees one lying down on its area by the rolled carpet at the fireplace, and starts off to obtain it out. ]
DAVIES: Sit back: Huh I haven't had a good sit down I haven't possessed a proper sit back well, I couldn't tell you
ASTON: [inserting the seat] Here you are.
Nevertheless, Pinter acknowledged that he was affected by Samuel Beckett's Waiting for Godot, although, relating to Esslin, Pinter can be deemed 'reasonable' and associated with the new writers who dealt seriously with the working school; whereas Samuel Beckett rejected the naturalistic varieties since he deemed them as incorrect to transfer their insight into the human status. However, although Pinter is roofed in Esslin's reserve, it could be misleading to relate him with the other playwrights because Pinter's has do have naturalistic and internal practical features, which is not true in the case of other Absurdists.
Writing a play in an absurd way could also include the blending of comedy and serious stress. Pinter once said, 'Everything is funny, the greatest earnestness is funny; even tragedy is funny Life is funny because it is arbitrary, predicated on illusions and self-deceptions'. INSIDE THE Caretaker the funniest figure is perhaps Davies; for instance, when he will try on the shoes and the smoking-jacket he gets from Aston: Davies speaks about the shoes so eloquently that his compliment about them is nearly like a joke, because people rarely can imagine which a footwear can be blessed in such an eloquent way. Besides several situations in the play, Davies's personality and just how he speaks also seem to be to be comic elements. He does not have any understanding of and towards other people and this contributes to comic responses when he cannot follow exactly what is being said: He is given the suggestion that his turbulence in the night was because of the unfamiliar foundation, and he replies, 'There's nothing at all unfamiliar about me with bedrooms. I slept in bedrooms'. The tragic or serious respect in the play is generally the personas' suffering. Although each of them have strategies, purposes they do not achieve them, they don't make an effort to be able to complete them. Which means this simple vain daydream, the paralysis and the hopelessness gives the serious stress for the play.
Another feature of the 'absurd' dramas is the lack of verification about days gone by and future. It really is a mastery approach that atlanta divorce attorneys play the window curtain comes down when it's least of most expected, when the given situation is not completed in any way. Actually, the personas frequently make reference to days gone by or the near future, however, the near future that they think about is rather beyond their understanding. Their values and visions are affected by their actions, whereas their activities are often dependant on their past. Probably the most interesting point of this dramatic strategy is the way in which Pinter leads his visitors - unconsciously - to believe or notice that the characters do not have hope any more. "The menacing atmosphere of the works is a product of how the spectator is still left prey to the pity and terror naturally associated with an urgent trip to the inhabitants of inferno. " But the audience is, of course, able to think like the heroes do, or even think about another where all their strategies were completed, but in order to do so they might need to ignore, or simply disregard everything they may have noticed and observed about the personas during the play. On the contrary, the audience is competent to predict correctly what these individuals can do next when the curtain has already drop. In fact, the audience is aware of the characters much better than they know themselves and therefore can forecast their future with a larger accuracy.
Among the major dramatists of the Absurd, Harold Pinter symbolizes the most original combination of avant-garde and traditional elements. He was a long term 'visitor' of the theater, equally proficient as an acting professional, director and playwright. Pinter's work can be summed up with the price of James Stobaugh, "The Absurdist left behind all expectation of finding meaning in life and embraced a sort of nihilism. The Absurdist was convinced that everything was meaningless and absurd. The subjectivity of a Romantic was attractive to the Absurdist. However, even that implied that something was transcendent - a desire - and the Absurdist could have nothing in connection with that. "