Martin Esslin, fully Martin Julius Esslin

Martin
Esslin, fully Martin Julius Esslin
1918
2002

Hungarian-born English Producer, Playwright, Dramatist, Journalist, Critic, Academic Scholar and Translator

Author Quotes

"Absurd" originally means "out of harmony," in a musical context. Hence its dictionary definition: "out of harmony with reason or propriety; incongruous, unreasonable, illogical." In common usage, "absurd" may simply mean "ridiculous," but this is not the sense in which Camus uses the word, and in which it is used when we speak of the Theatre of the Absurd. In an essay on Kafka, Ionesco defined his understanding of the term as follows: "Absurd is that which is devoid of purpose. . . . Cut from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless."

In the Theatre of the Absurd, therefore, the real content of the play lies in the action. Language may be discarded altogether, as in Beckett's Act Without Words or in lonesco's The New Tenant, in which the whole sense of the play is contained in the incessant arrival of more and more furniture so that the occupant of the room is, in the end, literally drowned in it. Here the movement of objects alone carries the dramatic action, the language has become purely incidental, less important than the contribution of the property department. In this, the Theatre of the Absurd also reveals its anti-literary character, its endeavor to link up with the pre-literary strata of stage history: the circus, the performances of itinerant jugglers and mountebanks, the music hall, fairground barkers, acrobats, and also the robust world of the silent film.

The "poetic avant-garde" relies on fantasy and dream reality as much as the Theatre of the Absurd does; it also disregards such traditional axioms as that of the basic unity and consistency of each character or the need for a plot. Yet basically the "poetic avant-garde" represents a different mood; it is more lyrical, and far less violent and grotesque. Even more important is its different attitude toward language: the "poetic avant-garde" relies to a far greater extent on consciously "poetic" speech; it aspires to plays that are in effect poems, images composed of a rich web of verbal associations. The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself. The element of language still plays an important part in this conception, but what happens on the stage transcends, and often contradicts, the words spoken by the characters. In Ionesco's The Chairs, for example, the poetic content of a powerfully poetic play does not lie in the banal words that are uttered but in the fact that they are spoken to an ever-growing number of empty chairs.

The "Theatre of the Absurd" has become a catch-phrase, much used and much abused. What does it stand for? And how can such a label be justified? Perhaps it will be best to attempt to answer the second question first. There is no organised movement, no school of artists, who claim the label for themselves. A good many playwrights who have been classed under this label, when asked if they belong to the Theatre of the Absurd, will indigniantly reply that they belong to no such movement ? and quite rightly so. For each of the playwrights concerned seeks to express no more and no less his own personal vision of the world.

The Theatre of the Absurd has renounced arguing about the absurdity of the human condition; it merely presents it in being--that is, in terms of concrete stage images. This is the difference between the approach of the philosopher and that of the poet.

the Theatre of the Absurd links up with an older tradition which has almost completely disappeared from Western culture: the tradition of allegory and the symbolical representation of abstract concepts personified by characters whose costumes and accoutrements subtly suggested whether they represented Time, Chastity, Winter, Fortune, the World, etc. This is the tradition which stretches from the Italian Trionfo of the Renaissance to the English Masque, the elaborate allegorical constructions of the Spanish Auto sacramental down to Goethe's allegorical processions and masques written for the court of Weimar at the turn of the eighteenth century. Although the living riddles the characters represented in these entertainments were by no means difficult to solve, as everyone knew that a character with a scythe and an hourglass represented Time, and although the characters soon revealed their identity and explained their attributes, there was an element of intellectual challenge which stimulated the audience in the moments between the appearance of the riddle and its solution and which provided them with the pleasure of having solved a puzzle. And what is more, in the elaborate allegorical dramas like Calder6n's El Gran Teatro del Mundo the subtle interplay of allegorical characters itself presented the audience with a great deal to think out for themselves. They had, as it were, to translate the abstractly presented action into terms of their everyday experience; they could ponder on the deeper meaning of such facts as death having taken the characters representing Riches or Poverty in a Dance of Death equally quickly and equally harshly, or that Mammon had deserted his master Everyman in the hour of death. The dramatic riddles of our time present no such clear-cut solutions. All they can show is that while the solutions have evaporated the riddle of our existence remains-complex, unfathomable, and paradoxical.

The Theatre of the Absurd strives to express its sense of the senselessness of the human condition and the inadequacy of the rational approach by the open abandonment of rational devices and discursive thought. While Sartre or Camus express the new content in the old convention, the Theatre of the Absurd goes a step further in trying to achieve a unity between its basic assumptions and the form in which these are expressed. In some senses, the theatre of Sartre and Camus is less adequate as an expression of the philosophy of Sartre and Camus ? in artistic, as distinct from philosophic, terms ? than the Theatre of the Absurd.

The Theatre of the Absurd? can be seen as the reflection of what seems to be the attitude most genuinely representative of our own time. ? The hallmark of this attitude is its sense that the certitudes and unshakable basic assumptions of former ages have been swept away, that they have been tested and found wanting, that they have been discredited as cheap and somewhat childish illusions. The decline of religious faith was masked until the end of the Second World War by the substitute religions of faith in progress, nationalism, and various totalitarian fallacies. All this was shattered by the war.

Yet critical concepts of this kind are useful when new modes of expression, new conventions of art arise.

The Theatre of the Absurd attacks the comfortable certainties of religious or political orthodoxy. It aims to shock its audience out of complacency, to bring it face to face with the harsh facts of the human situation as these writers see it. But the challenge behind this message is anything but one of despair. It is a challenge to accept the human condition as it is, in all its mystery and absurdity, and to bear it with dignity, nobly, responsibly; precisely because there are no easy solutions to the mysteries of existence, because ultimately man is alone in a meaningless world. The shedding of easy solutions, of comforting illusions, may be painful, but it leaves behind it a sense of freedom and relief. And that is why, in the last resort, the Theatre of the Absurd does not provoke tears of despair but the laughter of liberation.

The Theatre of the Absurd ... can be seen as the reflection of what seems to be the attitude most genuinely representative of our own time. The hallmark of this attitude is its sense that the certitudes and unshakable basic assumptions of former ages have been swept away, that they have been tested and found wanting, that they have been discredited as cheap and somewhat childish illusions.

The dignity of man lies in his ability to face reality in all its meaninglessness.

Author Picture
First Name
Martin
Last Name
Esslin, fully Martin Julius Esslin
Birth Date
1918
Death Date
2002
Bio

Hungarian-born English Producer, Playwright, Dramatist, Journalist, Critic, Academic Scholar and Translator