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Known for its crude language, outrageous violence, and rejection of conventional dramatic structure, Ubu Roi (by Alfred Jarry, 1898) deliberately provokes and satirizes power, bourgeoisie, and human folly.
Absurdist theatre, emerging mid-20th century, rejects traditional dramatic structures to explore the meaninglessness and irrationality of human existence. Plays often feature illogical dialogue, repetitive or nonsensical actions, and characters grappling with a futile search for purpose in an indifferent universe. It aims to evoke a sense of bewilderment, humor, and despair, reflecting the post-war disillusionment with reason and societal conventions. Key influencers and playwrights include Jean-Paul Sartre, Albert Camus, Samuel Beckett, Eugène Ionesco, Antonin Artaud, and Jean Genet.
Theatre of Philosophers
Theatre of Philosophers
Theatre of the Absurd is a big file of playwrights and plays based on larger thoughts that concern all of us. As we begin our journey, think of it more as Theatre of Philosophy.
The first half of the 20th century was a period of immense global change, marked by two devastating world wars, major technological advancements, and significant shifts in political and social landscapes. It pushed humanity to the brink of destruction. And as we headed back, we sighed a collective WTF, reflected, and decided that is was...
"It is not the answer that enlightens, but the question."-Eugene Ionesco
Play Study: Waiting for Godot by Samuel Beckett
Play Study: Waiting for Godot by Samuel Beckett
Samuel Beckett's Waiting for Godot is a seminal play in the Theatre of the Absurd, featuring two tramps, Vladimir (Didi) and Estragon (Gogo), who endlessly wait by a barren tree for the arrival of a mysterious figure named Godot. Godot never appears, sending messages that he will come "tomorrow."
"Ever tried. Ever failed. No matter. Try again. Fail again. Fail better."-Samuel Beckett
The play's circular structure emphasizes its central themes: the meaninglessness of human existence, the search for purpose in an indifferent universe, the nature of companionship, and the struggle to pass time. The characters' endless waiting symbolizes humanity's perpetual search for external meaning or salvation that never arrives, leaving them perpetually trapped in a cycle of anticipation and despair.
Throughout their wait, Didi and Gogo engage in repetitive, nonsensical, and often philosophical conversations to pass the time, debating whether to leave, contemplating suicide, and performing various routines. Their efforts to fill the void highlight the futility of their existence. They are briefly interrupted by the domineering Pozzo, who leads his enslaved, suffering servant Lucky on a rope. Their interaction is equally perplexing, with Pozzo demonstrating arbitrary power and Lucky delivering a fragmented, stream-of-consciousness monologue.
Circular Plot Line
Circular Plot Line
In absurdist theatre, a circular plot refers to a narrative structure where the play begins and ends in a very similar, if not identical, state or situation, suggesting a lack of progression, resolution, or meaningful change.
This cyclical nature emphasizes the futility of human endeavor, the arbitrary nature of existence, and the inescapable repetition of life's meaningless routines. It deliberately denies traditional dramatic arcs, reinforcing the existential themes of entrapment, stagnation, and the absence of definitive answers or closure.
"Nothing happens, nobody comes, nobody goes, it's terrible."-Samuel Beckett, Waiting for Godot
Characters often repeat actions, dialogue, or situations, returning to a starting point despite various events or attempts at advancement.
ABOVE: The Bald Soprano (Eugène Ionesco, 1950) features two couples engaging in nonsensical, repetitive dialogue that eventually breaks down into complete gibberish. The play ends with the first couple's lines being repeated by the second couple, suggesting an endless, cyclical repetition of absurd social interactions.
LEFT: And Now For Something Completely Different, Monty Python 1971.
In these sketches, an announcer (often Eric Idle) would declare "And now for something completely different," only for the subsequent sketch to sometimes quickly revert back to the previous one, or for the announcement itself to become part of a larger, self-referential loop. This described a structural circularity that subverted the expectation of a new segment, highlighting the show's chaotic and unpredictable nature.
Another example that isn't a strict "plot" but creates a strong sense of circularity and inescapable absurdity is the way many of their sketches would break down and self-destruct, only to restart or transition abruptly to something else that felt like a continuous, illogical flow rather than a series of distinct, progressing narratives. The feeling of "déjà vu" and the perpetual sensation of things not truly ending but merely morphing into something equally bizarre is a hallmark of their style.
In these sketches, an announcer (often Eric Idle) would declare "And now for something completely different," only for the subsequent sketch to sometimes quickly revert back to the previous one, or for the announcement itself to become part of a larger, self-referential loop. This described a structural circularity that subverted the expectation of a new segment, highlighting the show's chaotic and unpredictable nature.
Another example that isn't a strict "plot" but creates a strong sense of circularity and inescapable absurdity is the way many of their sketches would break down and self-destruct, only to restart or transition abruptly to something else that felt like a continuous, illogical flow rather than a series of distinct, progressing narratives. The feeling of "déjà vu" and the perpetual sensation of things not truly ending but merely morphing into something equally bizarre is a hallmark of their style.
Assignment: Circular Plot Lines
Assignment: Circular Plot Lines
Create a scene that uses a circular plot line, emphasizing a futility of human endeavor, the arbitrary nature of existence, and the inescapable repetition of life's meaningless routines.
Absurdist Acting Style
Absurdist Acting Style
The Absurdist form challenges traditional notions of plot, character development, and dialogue. It rejects traditional theatrical conventions and aims to shock audiences into confronting the irrationality and futility of the human condition.
Absurdist acting demands that performers embody the contradiction and meaninglessness inherent in the human experience, often through a blend of heightened realism and stylized, almost ritualistic, behavior.
Due to their symbolic & theme-based presentation, Absurdist plays are highly controlled and precisely crafted. Frequently they come with highly specific "instruction manuals" that define design and performance.
"Absurd is that which is devoid of purpose. . . . Cut from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless." - Eugène Ionesco
The Pause: using pauses to create tension and misunderstanding
"interesting artist"
The goal is not to portray psychological realism but to illustrate the profound absurdity of being.
The goal is not to portray psychological realism but to illustrate the profound absurdity of being.
"The Theatre of the Absurd tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself."
-Martin Esslin
Clichés, non-sequiturs, and circular arguments: Clear communication through physical and vocal efficiency, that demonstrates a complete lack of meaningful communication.
Devaluation of Language and Communication Breakdown: Absurdist plays often feature repetitive, nonsensical, or fragmented dialogue that highlights the inadequacy of language to convey meaning or foster genuine connection. Characters often talk past each other, or their conversations go nowhere.
Actors pursue objective and create, complete actions, but those objectives are not tied to plot nor have cause/effect (creating a narrative plot). Roles lack motivation; rather actions / behavior is repeated as if a ritual.
Futility and Repetitive Actions: Characters in absurdist plays frequently engage in repetitive, circular, or pointless actions that underscore the futility of their efforts and the meaningless nature of their existence.
Characters are non-specific and based on archetype / stereotype. Similar and influenced by Brecht, "good" acting is defined by the actor's efficiency and clarity of symbol.
Blurring of Illusion and Reality: Absurdist theater often challenges the audience's perceptions by blurring the lines between what is real and what is not, creating a dreamlike or surreal atmosphere. This can involve unconventional staging, illogical events, or characters who are unsure of their own identity or surroundings.
Example: In Ionesco's Rhinocéros, the slow transformation of townspeople into rhinoceroses is treated as a bizarre yet increasingly normal occurrence, highlighting the absurdity of conformity and the fragility of human identity.
Tragicomedy and Dark Humor: Despite the bleak themes, absurdist plays often incorporate elements of broad comedy, vaudeville, and physical humor, which can be unsettling as they juxtapose with the existential despair. The humor often arises from the absurdity of the situations or the characters' futile attempts to make sense of their world.
Quote: "Nothing is funnier than unhappiness … it’s the most comical thing in the world." - Nell in Beckett's Endgame
Example: The clown-like antics and verbal games of Vladimir and Estragon in Waiting for Godot provide moments of dark humor amidst their desperate and fruitless wait.
Challenging Audience Expectations: Absurdist acting is designed to provoke and disorient the audience, pushing them out of their complacency and forcing them to confront uncomfortable truths about the human condition. This can involve breaking the fourth wall or other unconventional staging techniques.
Use of repetition, nonsensical dialogue, unconventional staging
"No more masterpieces!"-Antonin Artaud, Theatre and its Double
Start with the bare stage. Our theatrical predecessors Bertolt Brecht and Peter Brook preferred to acknowledge the performance space (in fact, Brecht's theatre style developed alongside Constructivism). In this media, function typically upstages form. Instead of developing the aesthetic, we prefer admiring the way it works.
Efficient communication of message. Designers focus on supporting the actions portrayed by the actors in the allegory. Sometimes they create an embedded narrative; sometimes designers support the meta-play with a distancing effect. Some examples of distancing effects include:
Projections, inserts, subtitles for signs, words, headlines, quotes, instructions, titles
Lights/set support explanation, clarity, efficiency
Production equipment like cameras, boom mics, lighting instruments are frequently exposed as part of the spectacle of performance
Tools, utility, unfinished/unpainted/unfinished surfaces
Deliberately fake or "rehearsal grade" props and costumes, as well as staged or deliberate mistakes
Design that incorporates/produces irony (frequently a joke or gag)
High-utility "props" needed by the performer such as water bottles, lecterns, script prompters, note cards
High-allegory design choices (in opposition to high-utility) for deliberate obscurity or vague interpretation
Historical verisimilitude in sets is frequently contrasted with the black background of the acknowledged production stage
Non-Narrative Design
Non-Narrative Design
The acknowledgement of performance (and at the same time breaking the illusion of reality) opens many opportunities for expression. Just as actors don't need to follow the strict rules of realistic acting, neither do designers. It's not complete randomness and chaos (unless it is); rather, designers' work helps support the allegory.
SYMBOLS, CONTRAST, COMPOSITION, UNIFIED THEME. As with acting, designers benefit from their sophistication. Knowledge of the community, knowledge of historical/aesthetic periods, and knowledge of art and experience in aesthetic composition creates detailed, efficient work.
Drunk History's design aspects (that's costumes, location, props) are historically accurate when, compared to the actor's conditions, is a high contrast irony.
Historical Verisimilitude. A frequent device used to acknowledge the meta-play is accurate, authentic, specific portrayal of an historic time. Productions that utilize historical verisimilitude are called period pieces and distance an audience from the events of any plot. When you watch a piece that's so far removed from your life, you'll tend to objectify it.
NON-NARRATIVE CONTENT FINAL
NON-NARRATIVE CONTENT FINAL
Our final assignment this quarter is either
creation and/or performance/presentation of non-narrative media, or
an independent project which displays mastery of another type of content
WE'LL BEGIN CELEBRATING THESE MAY 17, 2021
WE'LL BEGIN CELEBRATING THESE MAY 17, 2021
Q4 Non-Narrative OnScreen Acting Playlist
Q4 Non-Narrative OnScreen Acting Playlist
Here's my YouTube playlist of all the videos we watched throughout the quarter. Enjoy!
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