Samuel Beckett and the Theatre of the Absurd

To understand Beckett and the area of the Absurd we must first go back to Becketts roots in Irish theatre. It was Martin Esslin who coined the phrase The Theatre of the Absurd. Esslin attributed this form of drama to the moment when the certitudes and unshakeable assumptions of former ages have been sweep away, that they have been found wanting... The Theatre of the Absurd has renounced arguing nigh the absurdity of the human condition; it merely presents it in existence - that is, in terms of concrete stage images (Harrington, 2004). It was a revelation in his home country of Ireland that led Beckett to explore this regularity of drama, a revelation immortalised in his short play, Krapps last tape. He saw a pointedly nihilistic vision of each organising philosophic principle in our life. He saw them any as archaic and therefore leading us defeat a road that would not only fail to assemble our potential, but lead us into ignominy, failure and depression. This was the beginning of his deconstructionism of all the traditional aspects of theatre, including staging, characterisation and even the resolution of plays.

This sunrise(prenominal) form of theatre, minimalist in its physicality but constant of gravitation in its scope, ironically has its roots in the mythic modal value of the Irish national theatre, a theatre that had almost all been born in the Abbey theatre; a theatre where vast characters debated even larger themes. The Irish play had become one intentional along specific themes of rebellion and unity. Ultimately however it became a caricature of itself, tying down artists instead of allowing them to express themselves fully. merely much is owed to this theatre in terms of Irish literary heritage, there needed to be a new voice, a new approach. Sadly Beckett had to go to France...

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