Drama using the abandonment of conventional dramatic form to portray the futility of human struggle in a senseless world. Major exponents include Samuel Beckett, Eugène Ionesco, and Harold Pinter.
Just as there was a European Theatre of the Absurd, so there is the (slightly cheerier) British radio equivalent.
There are moments when the dialogue has the delightful inconsequentiality of the Theatre of the Absurd.
Eugene Ionesco's plays, with his distinctive, absurd, and comic perspective on the strangeness of life, became a cornerstone for the 1950's theatre movement known as the Theatre of the Absurd.
His fiction borrows much of its influence from twentieth century movements such as Expressionism and the Theater of the Absurd.
Rhino Productions has given Harold Pinter's ‘The Birthday Party’, a classic of the Theatre of the Absurd, a low-budget, well-acted production that shows the play is as intriguing now as it was when first produced in 1958.
Their verbal and physical comedy, in which order so easily turns into chaos and sense slides into nonsense, makes them forerunners of the Theatre of the Absurd and Monty Python.
One of Ireland's four Nobel laureates for literature, Samuel Beckett was one of the literary titans of the 20th century, a pioneer of the Theatre of the Absurd.
Jarry also pioneered various techniques of audience defamiliarisation in his approach to the staging of the work, anticipating the Surrealists and the Theatre of the Absurd.
I doubt my mother will ever see herself as a player on the stage of the Theatre of the Absurd but her talents in this area are at times unrivaled.
Specifically, his plays belong to the Theatre of the Absurd, a type of theatre in which the universe and human existence are depicted as without purpose, meaningless and irrational.
Reflecting aspects of the Theatre of the Absurd that was then in vogue, Waldman's work depicted a dysfunctional typical American urban family harassed by a group of surly teenaged delinquents.
The kinds of literary work that have been described as postmodernist include the Theatre of the Absurd and some experimental poetry.
In addition, the unusual presentation style, patterned in part after the Theater of the Absurd, facilitated the skillful use of humor, for which he was well known.
In a similar vein, he argues that the Theatre of the Absurd is no more than a mode of representation among others, and does not convey any ideology.