THE THEATRE OF THE ABSURD AND JEAN GENET.pdf
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1、THE THEATRE OF THE ABSURD AND JEAN GENET Do. Dr. Yusuf ERADAM A New Theatre: Theatre of The Absurd The years after the Second World War are the fruit1ess years for the theatre.Butinterests were carried toards new subjects and to those of actuality sometimes disguised in the traditionalforms and uses
2、. By and by though, without any showy manifestation, anather theatreappeared.In1950s it as imposed upon large audiences, whichconsistedofintellectualsandstudentssearchingfor something new, in Theatredes Noctambules,Theatrede Poche, Theatre de la Huchette, Theatre de Babylone, and Theatre de Lutece.
3、The development of this theatreowes muchto the successful performance ofIo.nescosRhinocerosat lOdeon-Theatrede Franc, and Arthur Adamovs second playIInvasion,by Vilar, at Palais de ChaiHot. Some of the known directors f these new plays are Georges Vitaly, Andre Reybaz, Roger Blin,Jean-MarieSerrau, a
4、nd J aques Mauclair. The actors like Lucien Raimbourg and TsiHa Chehon, and the dec- orators like Jacques Noel, Rene Allio and Ande Acquart are same of the people equally importantin the history of this theatre. Theatre of the absurd is atfirstcharacterizedby a deliberate refusal of realism. Althoug
5、h therearemomentswhichcarrythe traces of therealisticworks, realism is neverthebasic principle. The main principle is to search, ,on the contrary, in a fundamental unreality which manifests itself as muchinthe Tramework as in the intrigueorthecharacterswhoosciHate between lack of feeling and nullity
6、 and the improbabilityof themost fantasticsort. The maininterest of the playwright is neither to reveal a so_ciety,and its problems,nar a psychologicalstudy,andtheirrefinementis none of their concem either. To qeatea spectacle they usually tend to constitute an effect of totality which reveals its o
7、bsessional interior world through gests, songs, light andcolors. Thus,it has some j 16YUSUFERADAM affinities with the mime, the downeries (down-plays),improvisation, the cabaret, and it is like the ritualistic performances of the old Greek plays,suchas thoseof Aristophanes.Besides thecomedyand parod
8、yof Aristophanes,Commedia dellarte andvaudvillelies in its background. This new theatre ma) be called the Theatreas Ritua!which necessarily seeks a collectilve experience, because in ritualeveryone participates!.But it is mainly called as the ,Theatre of the Absurd, a term which was first wred.for t
9、he production of IonescosLa Gantat- rice Ghauve(The Bald Soprano) in Paris, ini950. The Theatre of the Absurdis anexpression of inelividual vision. Thespectatormay experience that visian too, but what matters is the artists expression of his vision.2 The Theatreof the Absurd originatedin France; Jea
10、nGenet from France,ArthurAde,mov bomin Russia, FernandoArrabal from SpanishMofocco,Samuel Beckett from Dublin andEugene Ionesco from Rumaniawere theleadingfigures. it took some of its nourishment from AlfredJarrysUbu Roiand ApollanairesMamelles de Tiresiaswhich carry same metaphysicalimplications.Su
11、rrea1ism is considereel as the father of the Theatreof the Absurd.3Antonin Art;md, the actor, director, theoretician,and poet is known as the prophet-directrof the theatrcof the absurd.His productionThe Genci,and his secretary Jean-LouisBarraultsproductiol1 of Franz KafkasnovelTheTrial,dramatizedby
12、Andre Gide, are perhaps the first and importantexamples of this theatre.In Barraultspro- ductiona nameless hemis accused of some never-statederime, caught up in the machinery of anonymous bureaucracy,and finally executed.4BeckettsWaitingforGodotis also a landmark. What is Absurd?Its dictionary meani
13、ng (Longman Dictionary of ContemporaryEnglish) is as follows: against reason or comman sense; dearlyfalse or foolish;. funny because dearlyunsuitableor impossible. Martin Esslin, in the intraductionto his bookThe Theatre of the Absurd,adds some other adjectivfs: out of harmony with reason r propriet
14、y;incongruous,.illogical. He continues as follows: 1 BarnardHewitt,Historyof the Theatre from1800to the Present(New York,1970), p.- 167. 2 Hewitt,p. 167-68. 3 It also carriestraces from futurism,cubisrn, dadaisnand expressionisrn,andin the 1930s Artaudatternptedto g:iveform in his Theatreof CrueIty.
15、 ,I“i ,“IiI iiiii THE THEATREOF THE ABSURD AND JEAN BENET17 In common usage, absurd may simply mean ridieulous, but this is not the sense in which Camus used the word, and in which it is used when we speak of the theatreof the Absurd.In an essay on Kafka,loneseodefinedhis understanding of the term a
16、sfollows: Absurd is that which purpose.cut off from hisreligious,tmetaphysical, is devoid of and trancendentalroots, man is lost; all his a.ctionsbecome senseless, absurd, useless.4 lonesco once defined the absurd as anti-idea,and for this reason some call his theatreanti-theatre.lonescos definition
17、 quoted by Mr. Esslin reveals a metaphysical anguish at the incongruity, useless- ness and senselessness of the humanccndition,and thisanguish is the core of the absurdist plays, mainly of Beekett, Adamov,lonesco, and Genet. This is why theirs is an experimentaldramathat has attackedtimeless issues
18、and problems forever insoluble, served by antirealistic productiontechniques developed for symbolist, expres- sionistie, theatricalist, and epic theatre.5 The definition alsa displays tha.t absurdity is an existentialist coneept, and this clarifies Sartres interest in and appreciation of the crimes
19、of the absurdists, especially those of Genet.6 The Theatre of the Absurd, while trying to xpressits sense of the senselessness of the humanconditionandtheinadequacyof the rational approach by the open abandonmentof rationaldevices and discursive thought,7never argues about the subject,butit nerely p
20、resents it in being-that is, in terms of concrete stage images.8 The radical but poetic language of it alsa emerges from these images, but what happens. on the stage transcends, and often contradicts, the words spoken by the characters.9 it finds its mostshocking, incantatious, or even devilish expr
21、essian in Genets theatre of social protest. 4 MartinEsslin,TheTheatreof the Absurd(London“1964),p. 17. Esslin has taken Ionescosdefinitionfrom Dans les Armes de la Vie,Cahiers de la CompagnieMadeleine Renaud-Jean-LouisBarraault,Paris, No. 20, October,1957. 5 Hewitt,p. 178. 6 Sartre is equay serious
22、in dealingwith absurdissues, but he is technicaymore conventional. 7 Esslin, p. 17. 8 Esslin, p. 18. 9 Esslin, p. 18. 18YUSUF ERADAM Jean Genet: The Villain Or The Saint JeanGenetis, biographically,themost spectacularauthor of the twentieth century.10Be was bom İn Paris in1910.His mother, Gabrielle
23、Genet, was a pros:itute;.and his father is not known. Genet was abandonel by his mther to an. orphanage,then he was sent nearhis peasantfoster parentsandwas broughtupby them. Genet leamt a:outhis real family when he got his birth ,certificate at the age of twenty-one He was caught stealing at the ag
24、e of10and was put in a refor- matory .(maison correctionelle) and stayed there unti! he was twenty- one. Being accused of thet, he decided to be a thief, and to repu- diate a world which repudiatedhim1 For. a change, hejoined French Foreign Legion, bm later deserted it, and found male prosti- tution
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