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Characteristics of The Theatre of The Absurd
Characteristics of The Theatre of The Absurd
INTRODUCTION
detailed information about the characters: Vladimir, Estragon, Pozzo, Lucky, and
the boy exemplifies that the characterization do not coalesce into a unified
representation of human behavior and it does mean absurdity. Setting, also serves
absurdity because of its abnormal condition and atmosphere, we can see that
throughout the play that there is no clue or hint that can point out the location of
the whole act except the author just states that two men are waiting on the country
road by a skeletal tree (Act 1, p.9) and that Estragon sits on a low mound (Act 1,
p.9). Last, the dialogue specifically contains absurdity, we can see it throughout
the play that Estragon and Vladimir talk incoherently and in the middle of the play
(act 1, p.p 42-45) Lucky conveys his speech grotesquely and incoherently.
Since Waiting for Godot serves absurdity, so the way to approach it is by
using the characteristics of the Theatre of the Absurd by Martin Esslin; those
characteristics encompassing plotless, no recognizable characters, the theme is
never fully explained or resolved, reflects dreams and nightmares and also serves
incoherent and incomprehension dialogue (Esslin, 1961: XVII). Assuming that
every absurd play shares the same characteristics of the Theatre of the Absurd, I
wonder whether those characteristics above really exist in Samuel Becketts
Waiting for Godot. Thus, I will analyze Samuel Becketts Waiting for Godot
based on its ideas and theme which is reflected in the situation of plot, characters,
setting, and also its dialogue in order to prove that this play truly reflects the
characteristics of the Theatre of the Absurd.
Since this play is the absurd one so the analysis may involve and focus on
the literary elements that implicitly show the characteristics of the Theatre of the
Absurd. However, not all elements may analyze in this thesis; I limit the analysis
on the elements such as the theme which is reflected in its plot, characterization,
and setting. This thesis will also analyze the form of this play in case of its
dialogue.
1.5 Significance of the Analysis
The significances of this analysis, they are as follow:
1. Helps people who are interested in learning drama to understand the ideas,
perspectives and characteristics of the Theatre of the Absurd as a trend and
phenomenon in 1950s 1960s.
2. Enriches the study of literature generally, and the study of drama and
theatre specifically in term of new genre of drama in 1950s 1960s.
1.6 Method of the Analysis
In accomplishing this thesis, I use intrinsic approach and also apply
descriptive analytical method which combined with interpretation. Intrinsic
approach is one of two approaches in literature proposed by Wellek and Warren
which focusing the analysis on the text itself without having any relationship with
other disciplines, while descriptive analytical method is conducted by describing
and analyzing the data which come from the text of play that I have selected and
then quote it; and within the same time I try to give explanation and interpretation.
Interpretation deals with clarifying the meaning of the play by analyzing its form
and also its content.
reflection, tell me: you can just as well do the one thing as the other,
that is to say where my reason and reflection say: you cannot act and
yet here is where I have to act The Absurd, or to act by virtue of
the absurd, is to act upon faith I must act, but reflection has closed
the road so I take one of the possibilities and say: This is what I do
otherwise because I am brought to a standstill by my powers of
reflection.
From that quotation above, we can see that the terminology of the absurd
is not the new term eventhough its relation and application with drama and theatre
are significantly introduced by the works of Beckett, Adamov, Ionesco, Pinter and
Genet; and Camus through his essay seemingly has provoked these playwrights.
Albert Camus essay The Myth of Sisyphus in 1942 became the first
philosophy which articulates the present of terminology the Theatre of the Absurd.
In this essay Camus tries to diagnose human condition and then he concludes that
human condition is basically meaningless.
Camus (in Esslin, 1961: xix) states that:
A world that can be explained by reasoning, however faulty,
is a familiar world. But in a universe that is suddenly deprived of
illusions and of light, man feels a stranger. His is an irremediable
exile, because he is deprived of memories of a lost homeland as
much as he lacks the hope of a promised land to come. This divorce
between man and his life, the actor and his setting, truly constitutes
the feeling of absurdity.(Taken from Camus, 1942:18)