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SAMUEL BECKETT AND THE THEATRE OF THE ABSURD

The Literature of the Absurd demonstrates the philosophy of the Absurd also called Beckett which is one of the leading representatives. Although Beckett rather it is related to the Theatre of the Absurd where tragedy and comedy collide in a sad illustration of the human condition and the absurdity of existence. The playwright absurdity is to be a researcher for which the order, freedom, justice, the "psychology" and the language are just a series of successive approximations to an ambiguous reality and disappointing. The playwright of the absurd dismantle the old Cartesian universe and its manifestation stage.

Sometimes characters will emerge equipped with a marital status, family and a career, and eventually be lost, in a progressive manner, all human characteristics . Others, the least the characters in this drama will be us as strange creatures halfway between the insect and the ghost. Esslin has proposed a list of old theatrical traditions used by the dramatists of the absurd to express, through a clever combination of these, the problems and concerns of the contemporary world. This list includes the theater "pure", ie the scenic effects, own circus and certain magazines, such as those achieved by acrobats, mimes and clowns of the Commedia dell'Arte to the Marx Brothers.

To this must be added the Dadaists and Surrealists shows the twenties, the experiments carried out by Artaud with "The cruauté théâtre (theater of cruelty) and the undeniable influence in the theater of the absurd by the Eastern theater, namely Bali. Cleverly shuffling these traditions, the literary heritage and practical experience, the theater of the absurd created his own theatrical language as a volunteer and violent reaction to the "conventional" language of traditional theater.

Characters do not appear transparent and socially, their expressions create a fascinating field and "poetic." His poetry is closer to cry and make back the floor to a prelinguistic stage of expression.

In the theater of Ionesco language breaks down voluntarily. In the works of Beckett Theatre has a huge density and quickly find some aspect of the human condition in which the viewer is forced to recognize. A constant of the theater of the absurd is the struggle of his characters to express themselves and the impossibility of doing so. In the theater of the absurd what is happening on stage and often overflows contradicts the words spoken by the actors. The initial situation in which they are placed the characters in this drama is enough to reveal his feelings and is based on the visual. Requires only the objects, accessories and the scenery, they acquire an extraordinary importance.

The theater of the absurd scene is almost always a meaningless world, full of heavy and cumbersome objects that end up dominating the characters. It is not easy to conduct a current census of the playwrights of the absurd. Critics-Esslin, Pronko, Kesting, Wellwarth-who have tried adopting different selection criteria and capricious, including in their lists currently playwrights have abandoned that as Adomov stage language, or Mihura Albee.

Moreover, there are very few authors who claim to his theater be called "absurd." In fact the only playwrights who can be considered true representatives of the theater of the absurd are those whose work led to the designation. And these few names may be added a few more that were faithful copies of the letter the dramatic structures of the French avant-garde of the fifties. The theater of the absurd reached its peak between 1956 and 1960 after this date, began to be tolerated by the bourgeoisie. There has been a typical phenomenon of complementarity: the playwright nonsense has come to play the role of the occult in primitive societies: fixed irregularity in order to purify the social body.

ideological criticism, which has accused the theater of the absurd to not be as radical as claimed, the unknown true value: to be a more or less coherent theatrical techniques that combine to allow you to reflect the reality of our time with greater wealth and faithfulness. In this sense, the theater of the absurd is his last and most successful expressions by incorporating its peculiar language of theater to shows like U.S. (1967), Peter Brook, assemblies Living Theatre (live theater), or adaptations of the authors absolutely free romantic Polish Jerzy Grotowski. Creating a vacuum on the traditional scene or showing its ridiculous saturation, the theater of the absurd language of the audience and breaks away the organic unity of the room and the scene, based on the existence of a world of values common. Thus, the theatrical sets its materiality thing seen. But this function can not be more than passing, and the "degree zero" that sucks is its horizon and its limitation, since it does not have the cooperation of the public, an essential element for the full development of a theater program.

both his novels and in his works, Beckett focused on the anguish inseparable from the human condition, which ultimately fell to me alone or anything . Also experimented with language until only his skeleton, which oroginó austere and disciplined prose, peppered with corrosive humor and enlivened by the use of jargon and banter. His influence on later playwrights, especially those who followed in his footsteps in the tradition of the absurd, was as remarkable as the impact of his prose.