Beckett And The Realism Theatre Of Henrik Ibsen

2026 Words Nov 9th, 2016 9 Pages
In the very basic formats of theatre, including plot, form, and stage design, there are a large amount of differences between the absurd theatre of Samuel Beckett and the realism theatre of Henrik Ibsen; however, both these playwrights look to challenge their audience and the theatrical conventions and expectations of their time. Beckett challenges the idea of how language, time, and human existence are presented and perceived within a play; Ibsen challenges the conventional ideas of his time with the use of an unexpected protagonist and the idea of leaving the audience with unanswered questions. Despite all the fundament differences between these two playwrights, Beckett and Ibsen, both can connect to their audience and allow a sense of connection between the art occurring on the stage and the audience watching.
Samuel Beckett was an Irish playwright, born in 1906 near Dublin; however, Beckett spent much of his life in Paris. Beckett’s playwrights, with specific focus on Footfalls, Not I, Happy Days, Breath, and Rockaby, challenge the common ideas of theatrical convention. Beckett wrote during the French existentialism period, where he saw humanity as individuals who were trapped in a hostile world; these ideas are challenged in Beckett’s work with his detailed meaning and use of language, the use of unstructured time, and the representation of human existence. The work of Beckett was a major component to the new age of theatre known as the Theatre of the Absurd.
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