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essay on albert camus myth of sisyphus
existentialism in theatre
an analysis of the myth of sisyphus of albert camus
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The ideas of life and death are often questioned and it’s hard to find a way to explain what happens, but the theory of Existentialism and the practice of Absurd Theatre take a look at these ponderings. Existentialism is a philosophical idea that was focused on trying to find life’s purpose and while answering the questions about death and meaning to life that was explored by Tom Stoppard, in his absurd play, Rosencrantz and Guildenstern Are Dead. Existentialism is a philosophy centered on the analysis of why humans exist and what their purpose is to life through trying to look at things such as the ideas of death and the meaning of life (Existentialism 1). It is centered on the ideas of finding yourself through free will, choice and personal …show more content…
Absurd theatre was first explored with the ideas of silent film and comedy with actors such as the Marx Brothers and Laurel and Hardy (Ahmed 3). As a result of trauma and the threat of nuclear war after World War Two, the thoughts of absurd theatre became a way of life. (Crabb 2) The people living in the world saw no way out and were looking for answers because life had become meaningless in their eyes. The person that was given credit to starting absurdist plays was created by Martin Esslin but inspired through Albert Camus’s Myth of Sisyphus (Maslin 2). In the Myth of Sisyphus the idea of absurd theatre was presented when the main character had to complete a pointless act with no progression. This reminded people of the life they were living in post war society. Absurd theatre uses no religious dimension but tries to use myth and ritual to bring back meaning into the life that people live (Ahmed 1). Absurd theatre aims to through existential beliefs to break down people’s confidence so they have no sense to who they are and where they belong. The characters are often living in a world of nonsense and have to reestablish their connection with the universe (Ahmed 2). They do this by learning through the decisions they make in life. There are many elements that help make the absurd theatre …show more content…
It is a behind the scenes look at a viewpoint you don’t get to see during Hamlet. The characters Rosencrantz and Guildenstern are behind the scenes of the story Hamlet and watch the events unfold. They often debate the philosophical questions of free will versus predestination and throughout their debates they are trying to prove absurd questions with existential answers. It was written in 1966, the prime time for existentialists and absurdist’s (Bas 1). Stoppard connected the play to these views in many ways with absurd theatre. His play analyzed the views of human existence, with meaningless communication, while distorting character and tapping into a force that controls everything outside of nature (Bas 2). Stoppard did a very swell job at connecting everything together and making people
Stoppard’s existentialist philosophy emphasized on personal freedom and the option of direction of life with possibilities that are less limited. These two contrasting values of society significantly control the reader’s perception when studying the way they were ‘transformed.’ An instance of the religious diversifications is the beliefs and ideals on death. In the play ‘Hamlet’ death is displayed as dramatic and violent with examples involving sword fights and poisoning. Due to his beliefs, Stoppard brings the probability that death isn’t an event that causes judgment by some divine values of the Elizabethan Christianity. This is displayed by Guildenstern when he defines death as “simply failing to re-appear”. The comparison here depicts death’s uncertainty, and by this transformation the reader comes to the opinion that death is like secrecy to all of us, no matter what era or beliefs one mi...
A term coined by the critic Martin Esslin, 'The Theatre of the Absurd' refers to the work of a number of playwrights, mostly written in the 1950s and 1960s. Its roots lie in an essay by the French philosopher Albert Camus. In his 'Myth of Sisyphus', written in 1942, he first defined the human situation as basically meaningless and absurd.
Bertolt Brecht was a German playwright, theatre critic, and director. He created and developed epic theatre with the belief that theatre is not solely for entertainment but also tools for politics and social activism. Previous theatre performances offered a form of escapism. The audience would become emotionally invested in the performance. In contrast to the suspension of disbelief, Brecht never wanted the audience to fall into the performance. He wanted the audience to make judgments on the argument dealt in the play. The aim of epic theatre is to detach the audience from any emotional connection in order for them to critically review the story. The ultimate goal of this theatre is creating awareness of social surroundings and encouraging the audience to take initiative on changing the society.
Stoppard gives Rosencrantz and Guildenstern an existence outside ‘Hamlet’, although it is one of little significance and they idle away their time only having a purpose to their lives when the play rejoins the ‘Hamlet’ plot, after they have been called by the King’s messenger: “There was a messenger...that’s right. We were sent for.” Their lives end tragically due to this connection with ‘Hamlet’, predetermined by the title, but the role provided them with a purpose to their otherwise futile lives, making them bearable. Their deaths evoke sadness and sympathy leaving the reader grieving for them.
Existentialism, which spread rapidly over continental Europe after the First World War, is essentially the analysis of the condition of man, of the particular state of being free, and of man's having constantly to use his freedom in order top answer the ever- changing and unexpected challenges of the day. According to the Existentialists, the starting point of every philosophical investigation is concrete human existence. That means that human personality in itself should point the way to the absolute value of reality. A single definition of existentialism is impossible. Definitions, provided by dictionaries are only part of what existentialism is about. …central to each definition is the assertion that existentialism is a theory or statement about the nature of man's existence. (1) The term is so difficult to define because, unlike other terms, existentialism is not universal. In other words, there are no two existentialists, which share exactly the same values or beliefs. Although, here is one major theme: a stress on individual existence, subjectivity, individual freedom, and choice.
Many messages are revealed throughout Tom Stoppard’s play Rosencrantz and Guildenstern are Dead including the use of language, the question of identity, and the uncertainties of life or death. The use of language throughout the play is remarkable and basic words have many different meanings or representations. Also, Rosencrantz and Guildenstern, or Guildenstern and Rosencrantz are always getting confused showing that no one knows who they are and it makes them question their identity. Lastly, both life and death both hold many uncertainties and we can never be sure of anything. We don’t know if the life we are living is real or if it is just a dream and we don’t know what happens after death. Yet, these are just a few messages from a play that contains thousands of metaphors.
Shakespeare’s Hamlet was written in the sixteenth century Elizabethan historical context, where certainty was questioned and there was a growing importance of individuals and their choice as opposed to fate. Influenced by the Renaissance, Shakespeare wrote in the tradition of the revenge tragedy. Stoppard however, who was living in a time of disillusionment due to the tragedies of two world wars, was influenced by the existential movement. Disregarding the past and future due to a lack of trust, Stoppard wrote in a tradition known as the Theatre of the Absurd incorporating existentialism. He uses various processes to adapt and transform the values and ideas influenced by the sixteenth century Elizabethan context in Hamlet to reflect the twentieth century evasion of reality unless it is in a reflexive and directionless present.
Melodramas were slowly pushed out of the metaphorical spotlight as Realism and Naturalism took its place. Naturalism is a philosophy of being able to put a ‘slice of life’ on stage (Hartnoll (ed.) 1967, p. 67); that is, a small piece of everyday life, as if the audience wasn’t there. Naturalism was a leader into the modernist period and was considered a revolutionary movement of the time. Naturalism was a new and improved kind of theatre, often confused with and mistaken for realism, which, in itself is a very similar type of theatre that began to emerge alongside Naturalism in the late 19th Century. Realism is the practise of Naturalism’s ideology; Naturalism being the theory of putting a ‘slice of life’ onstage; once something is placed on stage it is no longer ‘natural’, therefore Naturalism can never be created on a live performance stage. Realism however, is the practise of this theory in which the stage is made to look as close to real life a possible, accompanied by psychological development of characters rather than physical development, accompanied by extravagant stages, costuming and make-up, common in the melodramas seen before realism became
Existentialism is a phiosophy which revolves around the central belief that we create ourselves. External factors are not important. It is the way that we let external factors affect us that determines who we are. As individuals we all have the freedom to choose our own path and that is what life is all about. Along with the freedom of choice comes the responsibilty of one's actions which can make some people anxious but give others meaning to their lives. To overcome this anxiousness and accept responsibilty is to meet the challenges of life and to truly live it. I can adopt the existentialist approach which states that to live life is to experience happiness and absurdness and to appreciate both as a part of life.
The plots were different. The dramatists believed that the human existence is absurd and they used comedy in their plays such as ,Beckett's Waiting for Godot,(1953) (Drabble3). Beckett has tackled political themes in his plays such as, Catastrophe (1982), and What Where (1983) which deals with torture and totalitarian. Beckett's plays are not intellectually understood. Besides, irony was used in his works and his plays are closed compositions. The characters from the beginning until the end remain the same without development. In the Absurd Theatre the writers selected strange names for their works in order to reflect their rejection of the norms and the conventional values (Innes428-31). As for the Naturalistic Theatre, it rejects the natural laws. The naturalists and the realists share the same idea that the issues of the middle and lower classes should be tackled in the literary works. The writers at that time focused on the influence of the economic and material environment (drabble
The play, because of the absurdities contained in it, provide for the comic element and the protagonists engage in senseless pursuits without giving any rational thought to why they have been assigned to the task or what may be the outcome. To these absurd games, where they pose questions and provide answers to it themselves, sometimes as more questions, Stoppard brings a sense of inevitable. This inevitable is the death for which the men are destined.
Theatre serves to reflect society. From Shakespeare to Sophocles, a playwright’s work illustrates the different mechanics within a culture or time period or society. Theatre offers viewers the experience of taking a step back and looking in on themselves. In this way, theatre is a mirror for the world and the way it functions.
The transformation of a Shakespearean Revenge Tragedy into an Absurd Drama means a considerable change in structure from a well-structured and rigid format, into a chaotic and formless play. Stoppard deliberately alters the configuration of the play to create a confusing atmosphere, which creates the exact feeling of society in the 1960s- no definites or certainties to rely on. Language portrays meaning in both plays- the language of Rosencrantz and Guildenstern are Dead differs to that of Hamlet. Stoppard employs meaningless colloquial exchanges, such as Rosencrantz and Guildenstern’s question game, which strongly contrasts to Shakespearean elaborate and poetic verse, as seen throughout the play, especially in Hamlet’s soliloquies- “There is sp...
Existentialism is a branch of philosophy mostly concerned with the ideas of choice, meaning, and the limits of existence. Existentialism denies any form of predetermined systems, for they generally imply an external source of meaning, or power. Existentialism is often misconstrued of being nihilistic (if there is no predetermined meaning, then the world is completely meaningles...
Although Samuel Beckett's tragicomedy, Waiting for Godot, has no definite meaning or interpretation, the play acts as a statement of hopelessness regarding human existence. Debate surrounds the play because, due to its simplicity, almost any interpretation is valid. The main characters, Vladimir and Estragon, are aging men who must wait for a person, being, or object named Godot, but this entity never appears to grace the men with this presence. Both characters essentially demonstrate how one must go through life when hope is nonexistent as they pointlessly attempt to entertain themselves with glum conversation in front of a solitary tree. The Theater of the Absurd, a prevalent movement associated with Waiting for Godot, serves as the basis for the message of hopelessness in his main characters. Samuel Beckett's iconic Waiting for Godot and his perception of the characteristics and influence of the Theater of the Absurd illustrate the pointlessness and hopelessness regarding existence. In the play, boredom is mistaken for hopelessness because the men have nothing to do, as they attempt to occupy themselves as, for some reason, they need to wait for Godot. No hope is present throughout the two-act play with little for Estragon and Vladimir to occupy their time while they, as the title indicates, wait for Godot.