Theatre of the Absurd

Korean society is one of the rare nations that brings tradition and the
future together. They used the power of development to interpret tradition.
While examining the past and presenting it to today's society with various
tools, they also reflected the observations and perceptions of other societies with which the Korean people interacted.
Recently, the interest and success of Korean cinema in historical
subjects has attracted attention. It is observed that in these films,
depending on the periods, various Turkish origin tribes and lineages are
mentioned, they are processed in many ways, evaluated in terms of society, origin and life, and presented to today's audience.
www.earticle.netIt takes approximately 10-12 hours to go to South Korea via Turkey with direct and connecting flight options. The distance of 10432 km by car takes 5 days, 14 hours and 26 minutes with an average speed of 78 km / h. The question comes to mind, how can there be similarities,
common points or interactions about each other between two countries and regions that are so separated by location conditions

Este trabalho pretende revisitar a obra Fim de Partida, de Samuel Beckett, analisando-a da perspectiva do corpo representado no texto de Beckett. Tratando-se de uma obra canônica, não será obviamente uma interpretação original ou uma nova luz sobre a obra, mas, simplesmente, um novo ponto de vista.

Dessa maneira, algumas das diversas análises do texto e do autor estarão incluídas neste trabalho como forma de introduzir e de repensar Fim de Partida do ponto de vista supracitado. Este trabalho tentará também costurá-las só que não com o objetivo de criar uma unidade central da obra (o que seria até inviável, considerando a quantidade de leituras), ao contrário, posicionando-se sobre o que é dito e mostrado no texto sobre os corpos dos personagens e a partir daí chegando a alguma conclusão, se de fato alguma for alcançada.

This paper is a modest attempt to unveil the deliberate deployment of nonsense in The Theatre of the Absurd by means of exploring Eugene Ionesco's craft of incorporating ''invisible characters'', as a theme in his Absurdist ''tragic farce'' play "The Chairs". The ontological question that might haunt avid readers is "What is the possible interpretation, as well as the relevance of a series of invisible guests in the play?". However, this is the beauty of the Theatre of the Absurd as it leaves so much open to interpretation and makes one wonder and ask questions without giving an answer but, at the same time, helps one find them. As Ionesco himself rightly puts it, "It is not the answer that enlightens, but the question". At first sight, the invisible guests may appear to be useless and nonsensical in the eyes of the audience. They are hardly shown to function throughout the whole play. Rather, they are an assembly of a cross-section of humanity arriving one by one at Old Man's house who has arranged a seemingly ceremonial gathering in order for his message or meaning of life to be delivered to humanity. The audience comes to the theatre and watches the play, but cannot conquer what they thought they could. Much to everyone's surprise, the Orator elected by the Old Man to speak on behalf of him could not utter even a single word as he was a deaf-mute. But it is a firmly held belief that everything possesses a meaning, be it a gigantic statue or a small pebble. Hence their potentiality of bearing an underlying significance. As Ionesco himself rightly states, "If one does not understand the usefulness of the useless and uselessness of the useful, one cannot understand art".

Tiyatroda yaralayıcı bellek içeriklerinin temsil olanaklarını soruşturan bu
çalışma konuyla ilgili olarak metatiyatral stratejilerinin işlevsel olabileceği iddiasına dayanmaktadır. Birinci bölümde bireysel ve kolektif bellek kavramları psikolojik ve  felsefi temellerle ele alınmakta, anıların nasıl yapılandırıldığı ve geçmişin nasıl yeniden kurgulandığı açıklanmaktadır. Hatırlama ve unutmanın insan deneyimi üzerindeki etkileri aktarılmakta, belleğin duygusal ve duyusal boyutları tartışılmaktadır. Ayrıca bellek kavramı tarihsel, felsefi ve kültürel boyutlarıyla ele alınmakta; hatırlama ve
unutma arasındaki ikilik, Antik Yunan'dan günümüze uzanan düşünsel bir arka planla incelenmektedir. Belleğin bireysel ve toplumsal kimliklerin inşasında oynadığı rol açıklanmakta, modernleşme süreciyle birlikte deneyim yoksunluğu ve kültürel amnezi üzerine değerlendirmeler yapılmaktadır.
İkinci bölümde sanatın ve özellikle tiyatronun kolektif belleği temsil etme biçimleri üzerinde durulmakta, sanat-gerçeklik ilişkisi, kurmacanın yapısı ve izleyici ile kurulan etkileşim analiz edilmektedir. Metatiyatral stratejiler kullanılarak belleğin nasıl görünür kılındığı tartışılmaktadır.
Üçüncü bölümde ise Türkiye tiyatrosunun tarihsel belleği, bastırılmış anlatılar ve kimlik politikaları bağlamında ele alınmakta; örnek oyunlar üzerinden meta-teatral stratejilerle bu anlatıların sahneye nasıl taşındığı gösterilmektedir.

This study aims to bring the realms of philosophy and literature together to create a link between our quotidian lives and fictional worlds. Absurdity in an existential sense means there is an internal contradiction in one's aspiration to seek meaning in the universe which is destitute of such meaning. The correlation between absurdity and existentialism was asserted by Albert Camus who gained insights into absurdity by contemplating Sisyphus. Nonetheless, the purpose of this study is to blend existential absurdism with gothic genre to explore elements of existential absurdity and gothic echoes in Haruki Murakami's Kafka on the Shore. One's existential angst can be evaluated from a perspective which is also related to gothic, since the universe devoid of rationality, purpose and joy can be likened to gothic fiction whose attributes are also irrationality, gloominess and uncanny. To cope with the absurdity that surrounds us, as though we were characters trapped in manifold absurdities of gothic fiction, we resolutely cling to hope or death. Death is also a theme of gothic fiction from which characters endeavour to escape but mostly fail, like existentialists cannot escape from suicidal desires in nihility called the universe.

Στὸ Γ΄ τεύχος τοῦ βιβλίου ΠΗ Γλῴώσσα μου τὴς ΣΤ΄ τάξης Δημοτικού περιλαμβάνεται ἐγας κύκλος ἐνοτήτων, ποῦ ἔχει ὡς θέμα τοῦ τις κατακτήσεις τῆς τεχνικῆς, τοὺς κινδύνους ποῦν ἐγχυμονεί ἡ κακή χρήσῃ τῆς καὶ κάποια απὸ τὰ κοινωνικά προβλήματα ποῦ ἔχει δημιουργήσει. ΤῸ θέμα εἰναι εξαιρετικά επίκαιροῖ Ἀπό αὐτό ἐκκινούν καὶ σ' αὐτό διασταυρώνονται θεμελιώδεις παραδοχές μαι προσανατολισμοί νιὰ τὸ σύγχρονο ἄνθρωπο! Πρόκειται γιὰ θέμα ὑψηλῆς παιδευτικής σημασίας! ὡς πρῶτο μάθημα στον κύκλο αὐτό προτάσσεται ἕνα από τὰ περιφημότερὰ χορικά τῆς ἀρχαίας τραγωδίας; τὸ χοριμό τοῦ πρώτου στάσιμου τῆς ἀντιγόνης τοῦ Σοφοχλή! Ἐπιλογή, πράγματι, εξαιρετινὴ! Ὀμῶς, σρισμένα σφάλματα τῶν συνταχκτών τοι σχολικοῦύ ἐγχειριδίου, σε συνδυασμό μξ μια μεταφραστικῆ ἀνεπάρπεια, ἐπιρέρουν ριζιυκὴ αλλοίωση τῶν ἀπόψεων ποῦ ἐκφράζει ὁ τραγιχός μὰς ποιητής! Ἐπί σειρά ετών ὁ ἀνθρωπολογιιός στοχασμός τοῦ -Ὁὁ ἐν πολλοὶς ἀντιπροσῳπευτιμός τῆς γλασιριής ᾿Αθήνας (Δημάρατος, 1975: 23}--διδάσπεται στοὺς μαθητές μὰς τοῦ Δημοτικού σημαντικά παραποιημένος, Θὰ ἦταν σοβαρό διδαμτιμκό ατόπημα κάτι τέτοιο νὰ ἐεπαναληφθεί καὶ στὰ νέα βιβλία τοῦ Δημοτιμοῦ! Στὰ πλαίσια τούτης τῆς ἐργασίας επιχειρείται νὰ τεκμηριθοῦν οἱ πὸραπάνῳ ισχυρισμοί, νὰ καταδειχθεί ἡ σημασία τοὺς καὶ νὰ σποκατασταθξὶ ἢ σκέψη τοῦ Σοφοκλὴ στις πραγματικὲς τῆς διαστάσεις καὶ προσπτιμές, Ιδού τὸ χορικό, όπως περιλαμβάνεται στὰ βιβλία τῶν μαθητῶν τῆς ΣΤ' Δημοτιχού: «Του μόσμοι ἀπό τὰ Πάματα δὲν εἶναι τίποτ᾽ ἀλλο ποῦ να ναι σὰν τὸν ἀνῆρωπο περήφανο, μεγάλο, ΣῈ φουσκωμένα κύματα, σὲ θάλασσα αφρισμένη, Παιδαγωγι Ἐπιθεώρηση, 4 ΠΣ ἢ 4Π καντεγνεία τοῦ! ἀνθούπου» στὸ βιβλίο «Η λῴσσα μὸν» τὴς Στ᾿ Ἰημοτιποι 41 αὐτός ξέρει και μπαίνει --καὶ φύσαγε νοτιά! Καὶ τὴ θεὰ τὴν υὑπέρτατη, τῇ γὴη τὴ φαρδιοπλάτα, ποῦ ἀκούραστα τὰ χαίρεται, τ᾽ ἀθάνατά τῆς νιάτα, ζεύει στ᾿ ἀλέτρι τ᾽ ἄλογα καὶ τὴν περικυμλώνει, βαθιά τήνε πληγώνει καὶ την καταπονά. Πιάνει πουλιά γοργόψτερα, βουνίσια ἀγρίμια πιάνει" τὰ ψάρια από τῇ θάλασσα αὐτός μὲ δίχτυι βγάνει. Αὐτός τον ταύρο τ᾽ ἀλογο ξέρει νὰ μεταπείσει, τη λευτεριά ν᾿ αφήσει καὶ στὸ ζυγό νὰ μπει. Αὐτός καὶ γλώσσα ἔμαθε, και σπίτια νὰ σμεπάζει: καὶ νόμους ἐστερέωσε καὶ φρόνημα σπουδάζει. Με χίλμιους τρόπους ἔρχεται καὶ χίλιους τρόπους ξέρει, καὶ μόνο δὲ θὰ φέρει θανάτου αποφυνγὴ!» (Η Γλώσσα μοι, τ. Τ΄ σελ, 7, 8. μετ. Κα. Μάνου) Στὸ Βιβλίο του Δασκάλον (ΒτΔ} τὸ κείμενο προσφέρεται και σε δεύτερη μετάφραση. Σ΄ αὐτῇ οἱ δύο πρῶτοι στίχοι, ποὺ ἔχουν ἰδιαίτερη σημασία, σποδίδοντοι ὡς εξής: «Εἶναι, πολλά τὰ θαυμαστά, μα τίποτα ὧεν εἰναι, πιο θαυμαστό ἀπ᾽ τὸν ἀνθρῶπο» (σελ. 110, μετ. Δ. Σάρρου), Τα σφάλματα ποῦ Ἀαμβάνουν χώρα κατά τῇ διαπραγμάτευση τοῦ εν Ἀόγὼ χορικού είναι τὰ ἀκόλουθα τρία: α) Ενώ τὸ χορικό ἀποτελείται ἀπό τέσσέρις στροφές συνολικά, στὰ σχολικά ἐγχειρίδια καθώς καὶ στὸ Βτὰ παρατίθενται μόνο οἱ τρεις πρώτες! Γιὰ τὴν ὑπάαρξη τῆς τέταρτης στροφῆς δὲν γίνεται καμία ἀπολύτως ἀναφορά! Συμβαίνει, ὁμῶς, αὐτή νὰ ἀποτελεί τὸ νοηματικό πιρῆς νὰ ὄλου τοῦ! χοροῦ! «ΤῸ νόημά τοῖ! -στὴν οὐσία τὸ νόημα όλης της Αντιγόνῃς--βρίσκεται στην κατάληξῇ τοῦ (364-375) ποῦ τὸ συνδέξι μὲ τις ὑψφιστες σημασίες που διακυβεύονται μέσα σ᾽ αὐτὴ τὴν τραγοωδίαν, λέει ο Κα. Καστοριάδης (1903, σελ, 23), Τὸ ἰδιο τονίζει καὶ ὁ ( Μ. Βονντα: «Τὰ τρία πρώτα μέρη αποτελούν μόνὸ πρόλογο στὸ τέταρτο μέρος (...} Η οὐσία τοῦ χοριμού βρίσκεται στὸ ἐμφατιιό συμπέρασμά του» (1003, σελ. 38}. «ἔτο χορικό αὐτό», λέει ὁ ΑἸΙΡΙΠ [Ἔεκν, «πρέπει νὰ ἀαἀναγνωρίσουμε τὸ ηθυκοθβρησκευτικό πλαίσιο ὁποὺ τοποθετούνται τὰ δραματικ γεγονότα» (1987. σελ, 343]. Τὸ ηθικοθρησκευτικό πλαίσιο προβάλλεται μόνο στην κομμένη τέταρτη στροφή! Τὴν παραθέτω αμολούθως, σὲ μετάφραση τοῦ Κώστα Γεωργουσό-ΠΟΠΑΟΊΣ Παιδαγωγιεῆ Επεεθεῴοηση, ΗΖ ΠΘ6

Primeiramente a Deus, por possibilitar que este grãozinho de areia do universo esteja aqui agradecendo a Ele! A minha família, por me fazer sentir a pessoa mais especial da face da terra. Aos meus pais, por ter me doado muito do melhor deles, desde seus genes, até suas sábias palavras, seus exemplos, seu amor. Aos meus irmãos distantes (uns mais do que os outros, não é Bia?), por sempre me enviarem seu carinho e sua atenção sem nunca esperar nada em troca, aos quais muitas vezes não consigo retribuir a altura pelos atropelos da vida de ator-pesquisador-professor. Aos meus tios e primos de Cuiabá, pelas inúmeras festas e risadas. Ao meu tio Junior, por um dos ensinamentos mais poéticos que aprendi na vida: "Se você está no inferno, abrace o capeta!". Ao meu eterno companheiro Bruno César, por sempre estar ao meu lado desde a infância compartilhando comigo os momentos de alegria e tristeza. Por ser a prova de que uma amizade sincera, profunda e eterna ainda é possível nos dias de hoje. A toda família do Bruno, minha família também, Selma, Tia Maria, Márcio, Maurão... Aos meus amigos companheiros de teatro, Daniela, Andrêydsa, Wesley, Karine, Luciano, pelas lutas em conjunto, conquistas e decepções, cervejas e "tombações". Por me fazer acreditar que determinadas pessoas nascem predestinadas a se encontrar um dia e desenvolver muita coisa bonita e importante juntos. Ao meu orientador, Márcio Pizarro, por me ensinar através de sua prática que o saber é algo dinâmico, flexível e extremamente prazeroso. A todos os professores com quem cursei disciplinas no mestrado, Maria Elizia, Luiz Sérgio, Noé Sandes, por me apresentar conhecimentos importantíssimos para o desenvolvimento de meu projeto e de minha vida acadêmica. As professoras Carmelinda Guimarães e Isabela Debem, por suas importantes contribuições na banca de qualificação deste projeto. Ao professor Robson, maior incentivador de meu ingresso no mestrado. A todos os artistas que gentilmente me concederam suas memórias, através das entrevistas realizadas, e que serão devidamente citados ao longo do projeto. Ao Mauri de Castro e ao Hugo Zorzetti, por além de suas recordações, me abrirem também seus acervos fotográficos. A Neuza e ao professor Hélio, do programa de Pós-Graduação da História, sempre atenciosos e cordiais. Ao CNPQ, pela bolsa de pesquisa. Ao Estúdio Cinematográfico (na pessoa do meu grande amigo Wesley Martins), pela transposição da gravação em vídeo para Dvd. A todos os colegas de mestrado e do grupo Interartes, Miguel, Luciana, Weslany e tantos outros que não cito aqui por muito esquecimento e pouco espaço!

O projeto A PALAVRA E O ATO: MEMORIAS TEATRAIS EM GOIÂNIA e fruto de pesquisa bibliografica, orientada pelo professor Marcio Pizarro Noronha, na construcao de um corpo teorico para analise de entrevistas orais colhidas junto a artistas e colaboradores do grupo Teatro Exercicio, de Goiânia, e principalmente de seu maior nome, Hugo Zorzetti, diretor e dramaturgo da trupe. As teorias levantadas ao longo do trabalho perpassam os estudos de memoria, narrativa e relacoes Arte-Historia, por um lado, e da comunicacao nao verbal, performance do ator social, e narrativa como performance, por outro, tendo como pano de fundo constante as relacoes entre artista e cidade, buscando as influencias entre ambos e a expressao do meio a partir da obra de arte. A discussao teorica e feita num primeiro momento a parte dos resultados empiricos, e, num segundo momento, acontece concomitantemente a exposicao da memorias dos entrevistados, que narram a trajetoria do grupo desde se nascedouro, na decada de 70...

Το άρθρο πρωτοδημοσιεύτηκε στο περιοδικό Screen 30: 4 (Φθινόπωρο 1989), σελ. 36-47, με τίτλο 'The Concept of National Cinema'. . 2 Το άρθρο βασίζεται σε ένα κεφάλαιο της διδακτορικής μου διατριβής την οποία προς το παρόν ετοιμάζω. Θα ήθελα να αναγνωρίσω ότι το έργο του Thomas Elsaesser ήταν αυτό που μου επέτρεψε να αναπτύξω μερικά από τα επιχειρήματα που προβάλλω εδώ.

Dans « Les jardins d'Éros », deuxième tome de son autobiographie intitulée Une Journée sur la terre, Maurice Girodias, l'éditeur parisien de la célèbre première édition anglaise de Lolita en 1955, résume en quelques paragraphes les moments décisifs qui ont marqué l'histoire de la publication de la traduction française de Lolita : Queneau avait été l'un des premiers découvreurs français du livre de Nabokov, dont je lui avais envoyé un exemplaire dès sa parution. […] [I]l était avant tout l'un des conseillers les plus influents des Editions Gallimard, et c'était à ce titre qu'il avait convaincu ses pairs de m'acheter les droits français de Lolita et, mieux encore, de commander la traduction à Eric, qui pourtant n'avait guère de références. C'est bien grâce à Raymond Queneau que la noble maison Gallimard prit ce double pari. (Girodias 1990, 345-46) Selon Girodias, le traducteur pressenti par Raymond Queneau est son jeune frère, Eric Kahane, que l'écrivain français avait eu comme élève à l'école bilingue de Neuilly-sur-Seine, au début de l'Occupation 1 . La suite du récit de Girodias présente une considérable ellipse temporelle qui gomme ce que fut la véritable histoire de l'éprouvante traduction de Lolita par Kahane : Eric avait empoché l'argent de son contrat et était allé se mettre au soleil à Biot, sur la Côte d'Azur, pour réaliser la première grande oeuvre de sa vie, plein de foi et d'enthousiasme. Le résultat s'était révélé tout à fait excellent. Queneau et ses collègues de chez Gallimard en étaient ravis, et ce fut sans doute cela qui nous permit de surmonter la crise, lors de l'interdiction de Lolita. (Girodias 1990, 346) L'interdiction en question, en décembre 1956, est celle de la première version anglaise de Lolita : or Girodias comptait sur la publication par Gallimard de la traduction française du roman pour « démontr[er] l'inanité d'une interdiction [en France] portant seulement sur la version anglaise » et « gagner [s]on procès au Tribunal administratif » (Girodias 1990, 348). Mais il lui faudra s'armer de patience. L'histoire de la publication de cette première traduction française de Lolita est en effet jalonnée d'un certain nombre d'épisodes théâtralisés que masque la présentation faite

Humans are born free, but they are condemned to choose throughout life. These decisions are the outcome of learning, either based on personal experience or imitation of others. It is not uncommon for their search for love, admiration, commendation, and love of caring to influence their life path. It is also not always ambitions that steer people, but also desires that help them learn about what is possible, and to evolve their personalities. The works of Paulo Coelho-Veronika Decides to Die and Eleven Minutes deal with the main concepts of existential literature, which include loneliness and existential emptiness that people can face when self-searching. The problem of choice is the hardest truth to be embraced, celebrated, and indeed made known by novelists like those of Coelho, where making individual choices in search of self-realization is a source of great individual and life lessons. The protagonists in the novels go through an existential odyssey, seeking to find their path to wilderness and the decisions that steer their lives. The characters Maria and Veronica undergo a roller-coaster ride as they try to create better prospects for life. This paper deliberates the philosophies and worldview that helped Coelho walk the road to selfdiscovery, and the decisions that shaped his life are discussed, and it is concluded that a choice is not more than a lesson learned.

Harold Pinter’s The Homecoming is an insightful exploration of power, identity, familial relationships, and the disconcerting aspects of the human psyche threatened with harsh, unyielding truths. A major theme running through the play is the idea of abjection, a term developed by philosopher Julia Kristeva to characterise the human response to something inherently disturbing or disgusting, something that breaks down barriers and upends the status quo. In Pinter’s play, this theme emerges through violence, emotional coercion, and the dehumanising treatment of people, all of which contest society standards. This paper will analyse how power conflicts, fragmented identities, and the uncertain roles of women, along with the blurring of borders, accentuate the disorienting impact of abjection. Pinter destabilises the characters’ lives and undermines the audience’s sense of stability, compelling both to confront alarming realities about human nature and social order. The convergence of these themes reveals the perplexing psychological truths that arise when the familiar is disrupted by irrepressible forces, resulting in discomfort for both characters and the audience.

This paper aims to analyze Death Stranding’s plot and gameplay mechanics to demonstrate how the video game and its protagonist, Sam, exhibit elements of absurdism as defined by Albert Camus. Death Stranding is not merely a video game but an intricate philosophical exploration of the human condition. Sam’s journey through an inherently absurd world allows players to vicariously experience existential sentiments through the video game’s narrative and ludic elements. As the story progresses, Sam’s quest resembles a Sisyphean struggle which engages players in an absurd procedural rhetoric. This absurdity is further enriched by allusions to Kobo Abe’s literary works. The referenced plays and short stories of Abe evoke tangible yet contradictory poetic visuals that capture the complexity of the human condition. The concepts of rope and stick, as defined by Abe, persist their paradoxical nature within Death Stranding, further emphasizing the video game’s absurdist themes. Through this analysis, Death Stranding is presented as a profound interactive medium that mediates existential and absurdist ideas, offering players a unique philosophical experience.

The WWII had a profound impact on modern life during the twentieth-century era. People lived in a state of fear and anxiety about the future and the unknown due to the accelerating events of the time. Then, people began questioning the whereabouts of morals and religion.

Though Edward Albee has occupied a prominent position within the American theatre for nearly four decades, his career has been quite controversial. But whether one is an «Albeephile)) or an «Albeephobe» -terms coined by Roudané to encapsulate the different attitudes to Albee ( Understanding Edward Albee 7)-, it would be unfair to deny bis artistic integrity. The easiest thing after the overnight success of Who 's A/raid of Virginia Woolf? (1962) would have been to go on writing plays with a similar appeal to audiences. There were, however, other concems and forros that he wanted to explore, and, conscious as Albee was of the difficulty and unpopularity of their pursuit, he did not flinch from the task; as a result, bis plays after 1966 have been among the most obscure and experimental of the American drama. But with Three Tall Women (1991), one of bis latest works, he has been welcomed back to the Olympus of successful Broadway celebrities. 1 A close examination of this play reveals, however, strong connections with previous work by the dramatist. Among them are its Existentialist overtones, which this article will seek to unveil and which have been, as will also be shown, a permanent feature of Albee's dramatic production, in different degrees and forms, ever since its start. In Roudané's words, «Three Tall Women embodies major philosophical issues that have long been synonymous with Albee's worh (American Drama 25). If the subject matter of plays such as The Zoo Story (1958), Who's A/raid of Virginia Wooif? (1962) or A Delicate , was the inauthentic kind of existence favoured by so many human beings in contemporary society, and that of Seascape ( 1975) was growing older and its implications, Three Tal! Women takes us back to 1 Though Three Tall Wlnnen is undoubtedly an outslanding play, Gradet probably exaggerates in calling it «lhe best American play of the last 65 years» (np). Banham ironically remarks that «[a]lmost every non-realistic modern dramatist has had this label affixedn (989). ' Thc play was !irst produccd at the English Thcatrc of Vienna on 14 June 199 1. It was thcn performcu on 30 July 1992 at the River Arts Repertory of Woodstock. Ncw York. and finally prcmiered in a regular production on 27 January 1994 at the Vineyard Theatrc in Ncw York City. lt was awardcd the Pulitzer Prize in 1994. Will Stackman contcnds ironically that Albee •s play «is one or thosc pieces of serious writing the Pulitzcr jury sccms to prder. fu ll of implication, but not neccssarily a play» (np).

A question of time versus the essence of life by Patricia. A. Buyu.

When the play " Waiting for Godot" by Samuel Breckett was first premiered in January 5th 1953, Paris; the audience that consisted of scholars and expert analysts of performing arts were annoyed and shocked at its lack of drama, action and an evidently an empty emphasis of a heightened understanding of the ways of man and God; that would have kept them glued to their seats throughout the play. Even before the curtains had come down, the infuriated audience openly expressed their frustrations and demanded that the play be stopped.

The primary focus of this article is on the deconstruction of language within the context of glossolalia and the Theatre of the Absurd. Following World War II, the expression of absurdity in the literature and theatre gave rise to the Theatre of the Absurd as an antiliterary movement. Glossolalia appears both in the first Christian communities and within the charismatic renewal movement in modern times and refers to the gift of speaking in tongues. The objective of comparing these two occurrences is to identify their similarities and differences in their treatment of the language. Both glossolalia and the Theatre of the Absurd contain destructive aspects as they disintegrate language, but they also contain creative elements; glossolalia is prayer, and the Theatre of the Absurd has artistic merit. To consider the extent to which language deconstruction might serve as a prelude to creative endeavours, this analogy appears to be significant.

Abstract
Syed Waliullah’s Bahipir (1960) delves into the philosophical dimensions of pessimism, despair, and existentialism, portraying the evolution of self-realization against a socio-political and historical backdrop. Through its characters’ existential crises, the play examines despair as both a debilitating force and a catalyst for transformation. Waliullah’s narrative engages with Søren Kierkegaard’s notions of faith and despair, Friedrich Nietzsche’s vision of overcoming nihilism through value creation, and Jean-Paul Sartre’s emphasis on human agency and responsibility. By depicting characters who grapple with despair, challenge institutionalized religion, and question societal norms, Bahipir reveals pessimism’s potential to evolve into a philosophy of growth and resilience. This study employs qualitative research methods—textual analysis, philosophical inquiry, and historical contextualization—to explore how Bahipir uses despair as a narrative and existential driver. It evaluates Waliullah’s integration of existentialist and pessimistic philosophies while situating the work within broader discourses on faith, identity, and self-realization. Additionally, the research contextualizes Bahipir within the socio-political milieu of post-colonial Bengal, critiquing institutionalized religion and systemic exploitation. The findings indicate that Waliullah employs nihilism and despair not as conclusive endpoints but as transformative thresholds for self-discovery. Characters initially immobilized by despair deconstruct their beliefs and embark on a journey toward self-realization, embodying Nietzsche’s and Kierkegaard’s philosophies. Therefore, Bahipir reflects the universal human struggle with despair and renewal, inviting readers to contemplate their search for meaning amidst uncertainty.
Keywords: pessimism, existentialism, self-realization, nihilism, transformation

Peter Božič was a Slovenian playwright whose most important plays were written at the beginning of his career, between 1955 and 1961. This writing is strongly connected to the then-avant-garde theatre Oder 57 (Stage 57), which presented opposition to the thenprevailing style of socialist realism in Yugoslavia. Young dramatists, directors and actors sought new ways of expression, leaning on existentialist philosophy, Artaud's theatre and modernist literature. However, when asked about the influences on his work, Božič replied: "When I was writing Človek v šipi (Man in the Window-his first play), I was leaning on my own life experience, not knowing that this form was in fact avant-garde theatre. Only later, when I first saw Ionesco on stage, did I realise, this is it." When he later explains the influence of Beckett and Ionesco on his plays, he admits that they were important to him in "the cultural sense. However, when it comes to my plays' content, the war had a much stronger influence. During the war, all my values were shattered to pieces." How authentic was the development of the avant-garde theatre of Peter Božič on the European periphery? To what extent can it be compared to the works of Beckett and Ionesco? The author analyses this relationship between the centre in France and the periphery in Slovenia by comparing the early plays of Peter Božič and the works of Beckett and Ionesco that Božič saw or read in Slovenia-The Bald Soprano and The Lesson by Ionesco and Waiting for Godot and Endgame by Beckett.

Članek se osredotoča na dramo Tango poljskega dramatika Sławomirja Mrožka in na njeno usodo na slovenskih odrih. Čeprav je bila uprizorjena v Beogradu in Ljubljani že v letu 1965, istem letu, ko je doživela krstno uprizoritev na Pojskem, je bila kasneje potisnjena na gledališko margino. Ponovno je prišla na repertoar ljubljanske Drame šele leta 2023. V članku so analizirane posamezne postavitve in kritiški odzivi; ugotovljeno je, da je na usodo recepcije Tanga pomembno vplival Josip Vidmar. The article focuses on the play Tango by the Polish playwright Sławomir Mrozek and its fate on the Slovenian stage. Although it was staged in Belgrade and Ljubljana as early as in 1965, the same year in which it was first performed in Poland, it was later relegated to the theatrical margins. It re-entered the repertory of the Ljubljanska Drama theatre as late as in 2023. This paper analyses individual productions and critical reactions, and concludes that Josip Vidmar had a significant influence on the fate of its reception.

An essay ("The Refutation of Spacetime in Beckett's Theatre: Towards a Non-Tragic Worldview") out of the recently published volume "Samuel Beckett: Philosophical and Psychoanalytical Receptions" (Kedros, Athens 2025). It centers around the refutation of spacetime in Beckett's theatre and the total lack of tragic dimension resulting by it. Examining the tragic phenomenon from a Schelerian point of view, we trace the method he used in order to create and establish an non-tragical worldview.

During his early years, Paul Auster wrote three plays: Blackouts (1976), Hide and Seek (1976), and Laurel and Hardy Go to Heaven (1976/77). Those works, however, are still little known to the general public or to literary criticism. The play Laurel and Hardy Go to Heaven exhibits close similarities to the dramatic works of Samuel Beckett, who strongly influenced Auster’s development as a writer. This paper aims to reflect on the peculiar position of the play in Auster’s oeuvre and to highlight its significance by tracing the arc of his creative maturation, in order to substantiate how Auster adopted Beckett’s texts into his own writings, overcoming the anxiety of influence and discovering his authorial voice.

This article highlights the African American reconfiguration of the conventional Apocalyptic perception of disability in two plays by August Wilson, Joe Turner's Come and Gone (1988) and Fences (1987). Wilson"s focal plays present a flexible adaptation of Apocalyptic disability that counteracts cultural absolutism. They highlight the effaced role of African reality in proposing liminality as a valid epistemology to destabilize the presumed pattern that shapes the traditional Apocalypse. So, Wilson"s dramaturgy visualizes an Apocalyptic disability that maintains a liminal construction, being a projection of various social and cultural experiences, a missing gap in Wilson"s scholarship. Ultimately, I address the cultural context where disability and African culture intersect to free the subjugated pathologized black other from dominant imperial paradigms.

This essay proffers the author's 2018 staged production of Gloryfire in the HopKins Black Box Theatre as a case study in the staging of experimental mop water performance. Mop water performance is a creative and embodied method of critical inquiry that animates feminist and queer storytelling, poetry, and polemic on the stage.

Performances of forgetting are ubiquitous; in response, this essay presents a theory of amnesic performance to constellate the esthetics and performances of slippage, memory loss, and ruin in the aftermath of COVID-19. To advance my project of amnesic performance, I bring forward the contested figure of C. A. Kinau within the global history of lunar documentation, as staged in my 2023 adaptation of Judith Schalansky's An Inventory of Losses. This work brings attention to the historical crisis of documentation within the archives of nineteenth-century selenography to highlight the modern traumas associated with COVID-19-induced memory loss and social isolation.

This article examines the concept of the "Uber-Marionette," proposed by British actor, director, and designer Edward Gordon Craig as an opposition to romantic subjectivity and realism in acting, alongside the "Model" actor concept introduced by French filmmaker Robert Bresson, within the context of early 20th-century acting theories and methodologies. Both artists transcend and redefine traditional realism, advocating a new mode of representation that emphasizes formal and aesthetic qualities. Craig’s "Uber-Marionette," which relies on movement and gestures as primary expressive tools, and Bresson’s "Model," characterized by the absence of overt emotional expression in cinema, are comparatively analyzed in both form and content. The study discusses these approaches in relation to the artistic contexts of their era, highlighting their aesthetic directions. Ultimately, Craig and Bresson reposition  the actor’s function beyond mere emotional expression, establishing a new representational paradigm. Thus, their  proposals are interpreted as a formal and conceptual critique against conventional norms of 'realism' in acting.

Antroposen gibi farklı perspektifleri bir araya getirerek Posthümanizm vizyonu çerçevesinde değerlendirme amacı gütmektedir. Çalışmanın giriş bölümünde Samuel Beckett'in oyunlarının sıklıkla ilişkilendirildiği bağlamlar olarak Varoluşçuluk ve Absürt Tiyatronun dinamikleri incelenmiştir. Çalışmannın birinci bölümünde ve insanın evrendeki yerini ve Aydınlanmanın öne sürdüğü insan merkezli rasyonalizmi sorgulayan çağdaş bir düşünce akımı olarak Posthümanizm ile Varoluşçuluk felsefesi arasındaki ilişki değerlendirilmiş ve Posthümanizm ile ilişkili çağdaş kuramlar ele alınmıştır. Çalışmanın ikinci bölümünde Oyun Sonu adlı oyunun dramatik örgüsü ve karakterleri ele alınmıştır. Son olarak, Samuel Beckett'in "Oyun Sonu" adlı oyunu Posthümanizm çerçevesinde ele alınabilecek farklı perspektifler üzerinden analiz edilmiştir. Kurulan diyalog yapısıyla rasyonalitenin eleştirildiği oyunda, sahne üzerinde var olan insan bedenlerinin işlevselliği azaltılarak insanın fiziksel merkeziliği ironik bir biçimde ele alınmaktadır. Oyunun çorak ve distopik ortamı Antroposen çağda yaşanmakta olan çevre felaketlerini ekoeleştirel bir bakışla ele almayı mümkün kılmakta, karakterler arasında yer alan efendi-köle diyalektiği güç dinamiklerini sahneye taşımaktadır. Modernitenin ilerleme vaadinin bir sembolü olarak oyunda yer alan bisiklet, bu vaadin başarısızlığını işaret etmektedir. Bu doğrultuda çalışma, “Oyun Sonu” adlı oyun üzerinden yapılan analizlerle tiyatroda Posthümanizm kavramının daha görünür hale gelmesine katkıda bulunmayı hedeflemektedir.

Anahtar Kelimeler: Posthümanizm, İnsan Merkezcilik, Antroposen, Ekoeleştiri, Oyun Sonu

Il s' agit d' un livre bilingue (grec-français) qui contient 100 poèmes de Vangelis Kassos provenant de 5 recueils publiés par leur auteur durant la période 1979-1998.
Ces poèmes ont été choisis et traduits en français par Ioannis Dimitriadis.

«У абсурдного столько же оттенков и степеней, сколько у трагического» отмечал в своих лекциях по русской литературе Владимир Набоков 1 , и драматургия Михаила Волохова 2 , как кажется, подтверждает это мнение и указывает, что «абсурдистские художественные миры могут создаваться различными средствами» 3 . Абсурдизм в литературе означает -вспомним -отказ от традиционных форм в драматургии, т. е. от разных реалистических форм выражения, от сюжета, характера, психологизма в образе человека. Абсурдизм выступает там, где нарушается внутренняя логика, которая заменяется рядом ассоциаций, разрушаются причинно-следственные связи, исчезают логическая и временная последовательность, где отсутствует интрига, а специфически понимаемое действие развертывается по кругу. Целью использовать 1

This paper examines the existential alienation portrayed through Franz Kafka’s The Metamorphosis and Albert Camus’s The Stranger, focusing on the characters of Gregor Samsa and Meursault. It investigates how both protagonists resist and are rejected by societal norms, highlighting their quiet rebellions through detachment and absurdity. The analysis situates these texts within the broader existentialist tradition, revealing how alienation functions as both consequence and critique of modernity. Ultimately, the paper interrogates the paradox of identity loss and self-realisation at the heart of existential fiction.

From the very first sentence of "First Love", Beckett's narrator-protagonist engages the reader in an aggressive, one-sided dialogue. We might respond by bringing the voice of the narrator, and Beckett's narrative in general, into contact with the major theorizer of dialogue, Mikhail Bakhtin. Bakhtin's categories of genre suggest that Beckett's story may share strategic affinities with the menippea, while his concept of chronotope helps to clarify some of the contradictory details in the text. It is the idea of dialogue, however, with its implied surrender of power to the other that dominates the text and obsesses the narrator. In illuminating the narrator's resistance to, and regretful acknowledgement of his dialogic position in the worId, Bakhtin's words respond to and renew Beckett's.

Typical biology classroom. Teacher at front of room. Several rows of seats or desks are filled with students. We join a biology class already in progress. Michael, a well-dressed young man, is holding his hand in the air, perhaps waving it-obviously in response to a question posed by the teacher.

The paper focuses on Tracing Macabre Elements in Freidrich Durrenmatt's German play The Visit where it explores the macabre tale of grotesque and societal morality within a theatrical space. Adapted on the Bengali theatrical space by the thespian Soumitra Chattopadhyay named "Phera"

Bu calismada geleneksel anlamda kimlik  anlayisinin nasil parcalanmis oz anlayisina donustugu, Samuel Beckett’in Krapp’in Son Bandi adli oyunu vasitasiyla, incelenecektir. Dolayisiyla gelenek ve donusum kelimeleri ozne ile ilgili fikirlere referans verilerek kullanilmaktadir. Insan kimligi konusundaki arastirmalar edebiyat alaninin calisma konusu oldugu kadar felsefe, psikoloji ve sosyoloji alaninda da yer almistir. Bu alanlar arasindaki etkilesim, soz konusu insan kimligi oldugunda, kacinilmazdir. Tiyatro alaninda ozne ile ilgili dusunceler kendisini yukarida belirtilen calisma alanlariyla dogrudan bir iliski icinde gosterir. Gunumuzde tiyatro alaninda yansitilan kimlikler daha onceden belirlenmis, sinirlari cizilmis ve butuncul olmaktan ote cogulcu ve parcalanmis sekilde karsimiza cikar. Metadrama, teatrallik ve edimsellik ile yapilan son calismalar tiyatroda boylesi parcalanmis ozne yansimasinin temelini olustururlar. Tipik bir Beckett karakteri olan Krapp bu parcalanmislik surec...

This article will apply the theoretical framework of intertextuality and hypertextuality to study appropriation mechanisms used in two absurdist tragicomedies: Guildenstern and Rosencrantz are dead (1966) by Tom Stoppard, and Ñaque, o de piojos y actores (1980) by José Sanchis Sinisterra. These two plays, both stylistically and generically influenced by Beckett's Waiting for Godot, hold the same writing processes and purposes: that is, to take minor characters of their main hypotexts (Hamlet and El viaje entretenido, respectively) and convert them in main characters of their own, but also transforming them and implementing changes in structure, genre, and style. To break down these textual phenomena and their inter-textual procedures, some concepts will be introduced, restructuring both intertextuality and hypertextuality according to a new theory named as diatextuality. Specifically, this study will deepen in the transformations occurred in between these plays and their hypotexts, and how those transformations may affect, not only in the construction of the new texts, but also in the interpretation of the former.

Deși Wiseman nu folosește mijlocul cel mai răspândit de editorializare într-un documentar, comentariul, își expune poziția față de cabaretul filmat în Crazy Horse (2011, 2h,14 min) printr-o serie de alte procedee. Probabil, cel care sare în ochi este frecvența secvențelor care redau integral numere din cabaret. Punându-ne atât de des în poziția spectatorului / spectatoarei (fără a ne trece apoi prin scene care să compenseze ca intensitate sau număr această poziție) putem lua filmul lui Wiseman ca pe o invitație la cabaret, sau ca pe un mod de a ne aduce cabaretul „Crazy Horse” în fața ochilor (satisfăcând parțial dorința directorului artistic, care ne spune în documentar că fiecare francez ar trebui obligat de stat să le vadă măcar un spectacol; Wiseman își pune fiecare spectator să vadă măcar cinci-șase numere din „Désirs” și aproape să învețe pe de rost două-trei melodii).

Bu çalışma, Adalet Ağaoğlu’nun Kozalar adlı oyununu, absürt tiyatronun Türkiye’deki biçimsel dönüşümü ve grotesk estetiğin kadın bedeni üzerindeki temsili bağlamında ele alarak çözümlemeyi amaçlamaktadır. Kozalar, 1970’li yılların siyasal baskı, toplumsal kaygı ve bireysel yabancılaşma ortamında yazılmış, ataerkil düzenin içinde sıkışmış küçük burjuva kadınlarının iletişimsizlikleri, korkuları ve kimlik bunalımlarını absürt bir dille sahneye taşıyan bir metindir. Bu bağlamda, çalışma, absürt tiyatronun Türk tiyatro yazınında yeniden kendini üretme sürecini ve bu süreçte grotesk estetiğin nasıl devreye girdiğini tartışmaya açmaktadır. Makale, öncelikle absürdün Avrupa’daki doğuşunu ve Türkiye’deki tarihsel-toplumsal koşullarda nasıl biçim değiştirdiğini ele almakta; ar- dından Kozalar oyununu grotesk/karnavalesk beden, norm ihlali, çok dillilik ve çocuksuluk gibi temel kavramlar üzerinden kuramsal olarak çözümlemektedir. Mikhail Bakhtin ve Wolfgang Kayser’in görüşleriyle temellendirilen bu çözümleme, grotesk estetiğin kadın bedeni, sınıf eleştirisi ve ataerkil yapı ile ilişkisini görünür kılar. Son olarak, Ayşenil Şamlıoğlu rejisiyle sahnelenen Kozalar oyunu üzerinden, grotesk estetiğin sahne diliyle nasıl somutlaştığı analiz edilmiştir. Çalışmanın temel iddiası, Kozalar oyununun yalnızca Batı menşeili absürt tiyatro geleneğinin bir uzantısı olmadığı; aksine yerel kültürel dinamiklerle ve geleneksel Türk tiyatrosunun minyatür ve tipleme esteti- ğiyle eklemlenerek yeni bir ifade biçimi sunduğudur. Grotesk anlatım, yalnızca görsel bir biçim değil, bastırılmış olanın bedensel temsili, toplumsal normların ihlali ve dönüşümün estetik ifadesidir. Bu yönüyle Kozalar, çağdaş Türk tiyatrosunda absürdün yerli dönüşümünün ve grotesk estetikle kurduğu özgün ilişkinin güçlü bir örneğidir.

Anahtar kelimeler: Adalet Ağaoğlu, Kozalar, Absürt Tiyatro, Martin Esslin, Grotesk Estetik

This thesis will describe the historical context, analysis, design, and implementation of the lighting design for the University of Arkansas’s production of Eugene Ionesco’s The Chairs. Special time will be taken to explain the unique challenges faced by this production both in early design meetings as well as during the implementation of the design. This document will tackle the question: How does the idea of triboluminescence help inform the design of shattered, crystal shafts of light that illuminate and highlight cyclical world of The Chairs? Included in this thesis are all essential lighting design documents including: the light plot, paper work, magic sheet, and research images. Production shots will be included and referenced during the scene-by-scene break down.