🎭Dramaturgy Unit 9 – Absurdism & Epic Theatre: Mid-20th Century

Key Concepts and Origins

• Absurdism emerged in the mid-20th century as a response to the existential crisis following World War II, reflecting a sense of meaninglessness and irrationality in the human condition
• Originated from the philosophical ideas of existentialism, particularly the works of Albert Camus (The Myth of Sisyphus) and Jean-Paul Sartre
• Epic Theatre, developed by Bertolt Brecht, aimed to challenge the traditional Aristotelian theatre by creating a critical distance between the audience and the stage
  • Sought to provoke intellectual engagement and social change rather than emotional catharsis
• Both movements rejected the conventions of realism and naturalism in favor of more experimental and avant-garde approaches
• Absurdist plays often feature circular or repetitive dialogue, illogical plots, and surreal or fantastical elements to highlight the absurdity of human existence (Waiting for Godot)
• Epic Theatre employed techniques such as the "alienation effect" (Verfremdungseffekt) to disrupt the audience's suspension of disbelief and encourage critical thinking

Major Figures and Influences

• Samuel Beckett, an Irish playwright, is considered one of the most influential figures in the Absurdist movement
  • His plays, such as Waiting for Godot and Endgame, are characterized by minimalist settings, repetitive dialogue, and a sense of futility and despair
• Eugène Ionesco, a Romanian-French playwright, is another key figure in Absurdist theatre
  • His plays, including The Bald Soprano and Rhinoceros, often feature nonsensical dialogue and surreal situations to critique conformity and the loss of individuality
• Bertolt Brecht, a German playwright and director, is the primary force behind Epic Theatre
  • He developed the theory of "epic" or "dialectical" theatre, which aimed to educate and engage the audience in social and political issues
• Brecht was influenced by Marxist ideology and sought to use theatre as a tool for social change and critique of capitalist society
• Other notable Absurdist playwrights include Jean Genet (The Balcony), Harold Pinter (The Birthday Party), and Tom Stoppard (Rosencrantz and Guildenstern Are Dead)
• Epic Theatre practitioners and playwrights influenced by Brecht include Heiner Müller, Caryl Churchill, and Tony Kushner

Philosophical Foundations

• Absurdism draws heavily from existentialist philosophy, which emphasizes the individual's freedom and responsibility in a meaningless or absurd universe
  • Albert Camus' essay The Myth of Sisyphus is a key text, exploring the human condition and the search for meaning in the face of absurdity
• Jean-Paul Sartre's concept of "bad faith," or the denial of one's own freedom and responsibility, is also a significant influence on Absurdist thought
• Absurdist plays often grapple with themes of isolation, despair, and the inability to find purpose or meaning in life
• Epic Theatre is grounded in Marxist philosophy and the concept of dialectical materialism
  • Brecht believed that theatre should expose the contradictions and power structures in society and encourage the audience to take action for social change
• Epic Theatre also incorporates elements of Chinese theatre and the concept of "Gestus," or the social attitudes and behaviors embodied by characters and actions on stage
• Both Absurdism and Epic Theatre reject the Aristotelian notion of catharsis and instead aim to provoke intellectual and critical engagement from the audience

Theatrical Techniques and Staging

• Absurdist plays often employ minimalist or surreal stage designs to create a sense of alienation and disorientation for the audience
  • Beckett's Waiting for Godot features a bare stage with a single tree, emphasizing the characters' isolation and the emptiness of their existence
• Repetitive or circular dialogue and actions are common in Absurdist theatre, highlighting the futility and meaninglessness of human endeavors (Endgame)
• Epic Theatre uses techniques such as the "alienation effect" (Verfremdungseffekt) to break the fourth wall and remind the audience that they are watching a play
  • This can include direct address to the audience, placards or projections displaying information, and actors stepping out of character to comment on the action
• Brecht's plays often employ a episodic structure, with scenes that can stand alone and are connected by a central theme or argument rather than a linear plot
• Epic Theatre also makes use of "Gestus," or the social attitudes and behaviors embodied by characters and actions on stage, to convey political and social commentary
• Both Absurdism and Epic Theatre may incorporate elements of comedy, satire, and irony to critique societal norms and expectations

Notable Works and Productions

• Samuel Beckett's Waiting for Godot (1953) is considered a seminal work of Absurdist theatre
  • The play features two characters, Vladimir and Estragon, who engage in repetitive and often nonsensical dialogue while waiting for the arrival of the mysterious Godot
• Beckett's Endgame (1957) is another notable Absurdist work, featuring four characters trapped in a post-apocalyptic shelter and engaged in futile and circular actions
• Eugène Ionesco's The Bald Soprano (1950) is a classic example of Absurdist comedy, satirizing the banality and meaninglessness of bourgeois existence through nonsensical dialogue and illogical situations
• Bertolt Brecht's Mother Courage and Her Children (1939) is a seminal work of Epic Theatre, following the titular character as she navigates the Thirty Years' War and the impact of war on society and individuals
• Brecht's The Threepenny Opera (1928), an adaptation of John Gay's The Beggar's Opera, is another notable work of Epic Theatre, critiquing capitalist society and the corruption of morality
• The Berliner Ensemble, founded by Brecht and his wife Helene Weigel, was a influential theatre company that produced many of Brecht's plays and trained actors in the techniques of Epic Theatre

Audience Reception and Impact

• Absurdist theatre initially shocked and confused audiences, who were accustomed to the conventions of realism and naturalism
  • The seemingly nonsensical and illogical nature of Absurdist plays challenged audiences to confront the absurdity and meaninglessness of human existence
• Over time, Absurdist theatre gained recognition for its innovative approach and its ability to capture the zeitgeist of post-World War II Europe
• Epic Theatre, particularly the works of Brecht, was met with both praise and criticism for its overtly political and didactic nature
  • Some audiences and critics appreciated Brecht's efforts to engage the audience in social and political issues, while others found his plays to be too preachy or propagandistic
• Both Absurdism and Epic Theatre had a significant impact on the development of modern and contemporary theatre, influencing playwrights, directors, and theatre practitioners around the world
• The techniques and themes of Absurdism and Epic Theatre continue to be explored and adapted in contemporary theatre productions, reflecting their enduring relevance and impact

Legacy and Contemporary Relevance

• Absurdist theatre has had a lasting impact on modern and contemporary drama, influencing playwrights such as Harold Pinter, Tom Stoppard, and Edward Albee
  • The themes of existential crisis, alienation, and the search for meaning continue to resonate with audiences in the 21st century
• Absurdist techniques and sensibilities have also been incorporated into other art forms, such as film (Monty Python), television (The Simpsons), and literature (Kurt Vonnegut)
• Epic Theatre and Brechtian techniques have been adapted and utilized by contemporary playwrights and directors to address social and political issues
  • Caryl Churchill's Top Girls (1982) and Tony Kushner's Angels in America (1991) are notable examples of plays that employ Epic Theatre techniques to critique societal norms and power structures
• The influence of Epic Theatre can also be seen in the work of contemporary theatre companies, such as the Wooster Group and the Berliner Ensemble, which continue to experiment with the form and push the boundaries of traditional theatre
• Both Absurdism and Epic Theatre remain relevant in the contemporary world, as artists and audiences grapple with issues of meaning, purpose, and social justice in an increasingly complex and uncertain world

Critical Analysis and Interpretation

• Absurdist theatre has been interpreted as a response to the existential crisis and loss of meaning in the aftermath of World War II
  • Critics have explored how Absurdist plays reflect the sense of alienation, despair, and absurdity that characterized the post-war era
• Some scholars have also examined the influence of existentialist philosophy on Absurdist theatre, particularly the works of Camus and Sartre
  • The themes of freedom, responsibility, and the search for meaning in an absurd universe are central to both existentialism and Absurdist drama
• Epic Theatre has been analyzed through the lens of Marxist theory and its critique of capitalist society
  • Critics have explored how Brecht's plays expose the contradictions and power structures in society and encourage the audience to take action for social change
• The use of alienation effects and Gestus in Epic Theatre has been examined as a means of disrupting the audience's emotional engagement and promoting critical thinking
• Some scholars have also explored the influence of Chinese theatre and other non-Western forms on Brecht's development of Epic Theatre
• Contemporary critical analysis has also examined the intersections of Absurdism and Epic Theatre with issues of gender, race, and postcolonialism
  • For example, feminist critics have explored how Absurdist plays often marginalize or objectify female characters, while postcolonial scholars have examined how Epic Theatre techniques can be used to critique the legacy of colonialism and imperialism