Absurdity In Eugene Ionesco

For the first two weeks of Mr. Rosenberg’s leave we read a book called “Backwards and Forwards” by David Ball which was a guide to help us understand both “theater and literature complements”. It was a way for us to comprehend traditional methods of literary analysis of scripts. The book used its examples from many different Greek such

Language corresponds to countless appellations, as the expresser of thought and ultimate origin of philosophy, influencing the world of knowledge with its astonishing qualities. The very essence of cooperation and communication relies eternally on the inspired art of language, without which any possible human development could occur. Furthermore, the perception of verbal communication splits between two realms, reality and literature, constituting two linguistic variations, figurative and literal. Throughout the world of literature, figurative language adds depth and dimension to

Absurdism refers to humanity’s need to look for meaning in life and inability to find meaning. Meursault identifies with an absurdist by believing that the world is

Shakespeare’s language is extremely complicated to read, it is vital in education to teach the art of this literature to understand the depth and meaning. Although Shakespeare may be difficult for the modern generation to understand, it’s because of the sophistication of his work. 21st century’s English has been so simplified to the point where we are unfamiliar of this classic form of English used in his playwrights.

Theatre is a complex art that attempts to weave stories of varying degrees of intricacies with the hope that feelings will be elicited from the audience. Samuel Beckett’s most famous work in the theatre world, however, is Waiting for Godot, the play in which, according to well-known Irish critic Vivian Mercier, “nothing happens, twice.” Beckett pioneered many different levels of groundbreaking and avant-garde theatre and had a large influence on the section of the modern idea of presentational theatre as opposed to the representational. His career seemingly marks the end of modernism in theatre and the creation of what is known as the “Theatre of the Absurd.”

Othello’s race and regression of speech (from calmness to rudeness), Iago’s victims (Othello, Desdemona, Cassio, Roderigo, etc.) being unravelled with manipulation and slyness, Desdemona’s struggling voice and false blame, etc., all participate in the damage the “power of language” causes. Therefore, by exploring the three language devices – “words as power”, “words as character” and “words as conversation” – it is possible to conclude that the language devices are used significantly in the play, “Othello”, because the human behaviour of the characters (Othello, Iago, Desdemona, etc.) is either positively or negatively influenced, and their characteristics and destinies are

“Aristotle believes that the language must be sweet in tragedy. The level of language used by different characters should differ to depict the social stands of the characters” (Adade-Yeboah, Ahenkora, & Amankwa, 2012 pg. 1). Additionally, he focuses on meaningful language reflected throughout the entire play, and stresses that tragedy must be taken seriously.

"Nowadays the plays' meaning is usually blurred by the fact that the actor plays to the audiences hearts. The figures portrayed are foisted on the audience and are falsified in the process. Contrary to present custom they ought to be presented quite coldly, classically and objectively. For they are not matter for empathy; they are there to be understood and politely added

Language can mean life or death of an individual; it can have restorative or destructive powers. The novel explores the destructive powers of language.

David Sedaris feels an urge to improve his broken language from the pressure he receives from his teacher and criticism from society. Sedaris shows signs of this urge when

Realism provides only amoral observation, while absurdism rejects even the possibility of debate. (Frances Babbage, Augusto Boal). The cynicism of this remark reflects the aberrant attitude towards absurdism, yet there is truth to it. Theatre of the absurd is an esoteric avant-garde style of theatre based on the principles of existentialism that looks at the world without any assumption of purpose. Existentialism and Theatre of the Absurd became identified with a cultural movement that flourished in Europe in the 1940s and 1950s, after the Second World War. The idea that man starts with nothing and ends with nothing is a common theme amongst most absurd plays. Despite this strange philosophy, Theatre of the

In the short narrative “Mother Tongue” Amy Tan talks about the different “englishes” she has experienced in her life. Tan illustrates the difficulties people with “broken” English encounter on a daily basis. Through the use of vivid imagery, the author illustrates her appreciation and opinion towards the variation of the English language. However, Tan has a shift in tone throughout the narrative. She begins expressing her embarrassment for having a mother whose English is not up to the standards placed by the American society that Tan is trying to belong in. However, later she realizes that this “broken” language is part of her culture and personality. Through the use of anecdotes, the author tells us that English was never her strongest subject

For the question of what absurdism is, absurdism can best be summed up as the belief that one must make their own path in the world without any external influences to achieve enlightenment. Albert Camus The Stranger is about a man by the name Meursault who seems to be easily influenced by external forces, whether it be by others or his environment. One of the repercussions for his complacency is that he is " forced'' by the sun to kill an Arab man. After being tried and found guilty of this crime Meursault is sentenced to death and while imprisoned he come to reject society as a whole and happily wait for his impending death. In The Stranger the protagonist, Meursault is characterized as an atheist who does not have any clear idea who he

What is the absurd? Camus categorized as the “belief in the absurdity of existence must then dictate his conduct” (Camus, 6). What Camus means is feeling of absurdity goes hand in hand with having a meaningless life. We get so used to doing the same routine that, we as people don’t think we just act like a robot. Camus asks “Does its absurdity require one to escape it through hope or suicide? And does the absurd dictate death” (Camus, 9). Camus says, “An objective mind can always introduce into all problems have no place in this pursuit and this passion” (Camus, 9). The problem with this is if we were always based on facts then we would not be able to base our opinions on experiences. Camus also relates the feeling of absurdity to exile, we as people what to have meaning and or purpose in our own lives. The absurdity displaces us from having a meaning life. Camus says, “Mean who die by their own hand consequently follow to its conclusion their emotional inclination” (Camus, 9). Camus considers this an absurd reasoning because this feeling of exile can turn anyone crazy leading into suicide which both the absurd and suicide are linked together.

The Life and Works of Bertolt Brecht In this essay I will consider the life and works of Bertolt Brecht, the famous theatre practitioner who has had such a dramatic impact on our understanding of the theatre and acting. First of all I will give a biography of Brecht because it is important to know the background of his life in order to understand the motives he had for writing and producing plays in the way he did. We will see a direct correlation between events in his life and the plays and techniques that he propagated. I will then move to explore the methods and techniques that Brecht developed, looking at how they came about and who influenced his work.