What is the theater is absurd. Historic Absurd Drama Nargin Backgrounds

The phenomenon of the theater of the absurdity arises in European drama (the most vivid representatives - Eugene Ionessko, Samuel Beckett, Harold Pinter, Slavomir Mřell as a direct response to despair after World War II. The drama is the question of the crisis of understanding and forms of statement. For example, in the play "Landscape" Pinter, two lovers tell each other words and externally looks like a dialogue, and, if you look around, then these are two monologues that have a replica. People do not hear each other, their speech and behavior is not a form of reaction to speech and behavior of other characters. Or is another important characteristic of the theater of the absurdity - all knowledge of the world, encyclopedic, axiomatic, dead, does not make sense, lost its meaning. The basics, cultural fastenings collapsed overnight after Auschwitz, ceased to "hold" the universe. And therefore, in the "rhino" ionesko, when people one by one turn into rhinos (society metaphor), the intelligentsia still finds out that African is rhinos or asian. In addition, the crisis of statements also arises. Not only the form of communication, the language itself is donated, dilapidated, but there are no messages, there is no content - there is nothing to say. The hero of the Beckett's play "In anticipation of Godo" is silent for a long time, and then squeezes out of itself a meaningless huge replica containing a set of incoherent words. Or is the speech of the lecturer in the "chairs" of ionesko, which the heroes are waiting and announced, and it turns out to be a set of syllables.

The absurdists are attacking both the bourgeois world, the world of comfort, the attributes of European well-being, as it is clearly aware that the fascization of society is generated by a sense of comfort, Filiuterism (parody of English domestic rituals in the Lysia Singer Ionessko). Moreover, the idea is important that evil is contained in the most European culture, in speech, language with its sense of hierarchy, moral superiority, coloniality, imperiscience; Culture is a form of totalitarianism, language is terror rules, standards.

Absurdists have made a tremendous contribution to the change in the forms of drama and theater. There was already a previously mentioned disintegration of the dialogue structure, and the disintegration between the word and act, as well as numerous minus receptions in drama (declared and failed lecture in the final "chairs" or meaningless expectation of the Beckett-Erzats-Events on the play). The idea of \u200b\u200bthe Erzats Event reveals the crisis of faith in progress, that history has a linearity and meaning that it moves somewhere. Society After World War II refuses to report stories, the goal, integrity, meaning, linearity, since all this leads the world to war, to totalitarianism. Icavitation is violence.

The theater of the absurd destroys faith in a psychological theater, in psychological motivation, to validity, motivation of the behavior of characters. Most often in the plays of the theater of the absurdity, we see not individuality, but the types, a person-function, social masks, devoid of individual traits and even names. Time and place in the absurdist plays is "nowhere", nowhere and never. Therefore, the psychological detail of the dialogue collapses.

At the same time, the absurdist world is extremely comic. Absurdists - without looking at their social pessimism - depict the world at the point of rotting, when no one is sorry for anyone. Therefore, there is an interest in parody, lower genre, launch reactions, cynicism. But with all, it is possible and an individual response to the world of absurdity. Absurdists, according to Albert Cami, expressed in the "Miof about Sisyiff," convince us that it is pointless to fight, argue with the absurdist, surrealistic world, it is pointless to correct it. You can only once and forever believe that the world is absurd and cannot be corrected. But for some heroes of the theater of the absurd (Rhinoness "of ionesko, the" last ribbon crappy "and" happy days "of the Beckett) is also characteristic of this position: the world is absurd, but I am not absurd and the absurd world will not make me your part. Therefore, resistance in the theater of absurdity is often associated with individual resistance, existential confrontation absurd, without attempts to turn the dehumanized world back, to harmony.

Some researchers see Anton Chekhov in the drama of Anton Chekhov and especially in the phenomenon of Obera (Harms, Vvedensky) the forerunner of the theater of the absurd. But since, because of the Stalinist repression, Obrew Culture was subjected to urastricism and censorship, repression, the theater of the absurd was to a greater extent a phenomenon of European, not Russian culture. Some elements of the theater of the absurd appear in the play of Lyudmila Petrushevskaya in 1980s, in the play of Venedikta Yerofeev "Valpurgiyeva Night, or the steps of the Commander" and in other Russian plays.

from lat. Absurdus is a ridiculous, unkind, meaningless) direction in theatrical art, which emerged in France at the beginning of the 50s. XX century His founders were those who lived in France Romanian E.Ionessko and Irendian S. Bekket. Significant influence on A.T. Supported existentialist (see: existentialism) philosophical and aesthetic ideas J.-P. Sartre and K.Kuyu about the absurd, the absurdity of the existence, the choice, the border situation, alienation, loneliness, death. In the language of the theater, the concept of existential found its expression in the alogombism of words and acts of characters, their non-community, space-time shifts, the absence of causal relationships, taking a shock aesthetics (see: shock) associated with the aestheticization of ugly. Another source A.T. - aesthetics of surrealism: the opposition is removed between the real, ordinary and surreal - imaginary, density, hallucinatory, supernatural, mystical; Natural features fit into the surreal context. Significant impact on A.T. Creativity F.Kafki also had also. In A.T. The absurd representable as ridiculous, deprived of meaning and logical connections, incomprehensible mind. A person appears with a timeless abstraction, a creature, immunified in search of a non-existing meaning of life. His chaotic actions among the ruins (in the physical and metaphysical sense of the word) are marked by repeatability, monotony, aimlessness; Their mechanical-automatic nature is associated with the weakening of the babullion, psychologism, the intensity of the stage-rhythm, monologism (with a formal dialogic structure), the openness of the final (Non-Fmito). Favorite techniques A.T. - parody, grotesque; The most characteristic genre is tragifars. Absurdist intellectual plays are not amenable to naturalistic, realistic, psychological directorial interpretations. They are to the genre of lesprama (drama for reading). The path to their stage decisions is to create an illusory atmosphere of an intellectual game, a linguistic tournament, whose winnings is an artistic paradox. Receptions A.T. Adamov's playwrights perceived and J.genya (France), Pinter and N. Simpson (England), F.Arasrabal (Spain). Ideas A.T. Found organic development in aesthetics of theatrical postmodernism. Thus, in the concept of the "Theater without a performance", K. Bane (Italy), aimed at the demiseertification of the classical "theater-presentation", the key of the postmodern deconstruction is the absurdist message to be around the text and traditional action. Unlike existentialism, postmodernism interprets absurd not as a lack of meaning, but as an implicit, inappropriate meaning: nonsense produces an excessive sense, and not nonsense (J. Deli). Aesthetics A.T. It has and retrospective use: it is often resorted to the interpretation of the classics. Just as the creativity of Dostoevsky affected the existentialism caused the shaft of the existentialistic interpretations of his novels, the works of classic-paradoxolists of the world theater provokes absurdist interpretations. The most significant among them are associated with the names of W. Stepir (existent-cyclers-absurdist interpretation of Gamlet, I. Bergman) and A.P.hekhov (performances P. Brook, S.Solovyev). Through the prism of A.T. Creativity of futurists, Obaniutov and some other figures of the Russian avant-garde are considered. In the modern cultural situation, A.T. Acquired a nominal value associated with the phenomenon of the "shifted" artistic consciousness - the conscious "nonsense" of nonclacial. Lit.: As always about the forefront. Anthology of the French theater avant-garde. M., 1992; French literature 1945- 1990. M., 1995; The? Tre Fran? Ais Anjour? Hu? L, 2. M., 1969. H. M ..

Lecture No. 14.

Theater absurd

Plan

1. "Theater is absurd. General characteristics.

2. Features of the narrative technology S. Beckett.

3. Features of the narrative equipment E. ionesko.

1. "Theater is absurd. general characteristics

The "Theater of the Absdant" is a common name for the playwright of the above-garde period of the 1950-1970s. This peculiar explosion was prepared, he was inevitable, although he had in every European country, besides common, and their own, national, prerequisites. General is the spirit of soothing, Meshchansky complacency and conformism, reigning in Europe and the United States after the Second World War, when the partitions dominated the scene, the landing, which became a peculiar form of stiffness and silence of the theater during the period "Frightened Decade".

It was obvious that the theater is at the threshold of a new period of its existence that such ways and images of the image and a person would have been needed that would meet new realities of life. The theater of the table is the most noisy and scandalous, which has shocked the challenge of the official art of its shocking art technician, completely marks the old traditions and ideas. The theater that took over the mission to talk about a person as such, a universal person, but considering it as a certain sand in cosmic being. The creators of this theater proceeded from the thought of alienation and endless loneliness in the world.

For the first time, the theater of the absurd declared itself in France by the stage of the play by E. ionesko "Lys" singer "(1951). No one then suggested that a new course in modern dramaturgy originates. A year later, new plays of ionesko appeared - "Chairs" and "lesson", and then S. Beckett made his own play "Waiting for Godo" (1953), which became a landmark phenomenon in the drama of the absurd.

The term "theater of the absurd" itself, which united the writers of various generations, was accepted by the audience, and the reader. However, the playwrights themselves resolutely rejected. E. Ionesko said: "Rather, it would be better to call the direction to which I belong, a paradoxical theater, or rather even the" Paradox Theater ".

The creativity of the drama of the theater of the absurdity was most often, according to the observation of T. Brinnikova, "a pessimistic response to the facts of post-war reality and reflection of its contradictions that influenced the public consciousness of the second half of our century." This manifested itself primarily in the sense of confusion, or rather, the losingity that covers the European intelligentsia.

At first, everything about what the playgrounds were told about in their plays, seemed to be delirium presented in the images, a kind of "nonsense together." Ionesso in one of his interviews declares: "Is life not paradoxical, not absurd from the point of view of averaged common sense? The world, life to extremes are incomprehensible, contradictory, inexplicable by the same common sense ... A person most often does not understand, it is not able to explain to consciousness, even a sense of all nature of the circumstances of reality, inside which he lives. And it became, he does not understand his own life, himself. "

Death in the plays acts as a symbol of human doomes, it even personifies and absurdity. Therefore, the world in which the heroes of the theater of the absurdity are living - this is the kingdom of death. It is irresistible by any human effort, and any heroic resistance is deprived of meaning.

The stunning alogicity of what is happening, deliberate inconsistency and the lack of an external or inner motivation of the actions and the behavior of the works of the works of Beckett and Ionesso created the impression that actors were employed in the play, never previously played together and the targeted goal by anywhere to knock each other, but at the same time And the audience is sensible. The discouraged spectators met such performances sometimes justukania and whistle. But soon the Paris press spoke about the birth of a new theater, designed to become a "opening of the century."

The heyday of the theater of the absurdity has long passed, and the problems set by S. Becket and E. ionesko, their dramatic technique remain relevant and now. The interest in the theater of the absurd not only did not go out, but, on the contrary, it is constantly growing, including in Russia, about what the plays of the S. Beckett "Waiting for Godo" in the St. Petersburg Large Drama Theater (2000 season). What is the reason for the success of the theater of the absurd, which was banned for a long time? Is it not paradoxically that the theater is caused by the theater, who offered the audience to get acquainted with the creature, only externally reminiscent of a person, the creature is miserable and humiliated, or, on the contrary, satisfied with its limitations and ignorance?

The creativity of the drama of the theater of absurdity feels the deepening of the tragic perception of life and the world as a whole.

The figures of this theater - S. Beckett, E. Ionessko, J. Wife, Pinter - write, as a rule, about the tragic fate of a person, about life and death, but lumbering their tragedies into the shape of the farce, buffonads.

2. Features of narrative equipment S. Becket

It is in this genre that the play is written S. Beckett(1909-1989) "Waiting for Godo" (1953). After placing the play, its author's name became world famous. This play is the best embodiment of the ideas of the theater of the absurd.

The work of Lög as a personal and public tragic experience of a writer who survived the horrors of the fascist occupation of France.

Place of action in the play is an abandoned country road with a lonely dried tree. The road embodies the symbol of movement, but the movement, as well as the plot action, is not here. Status of the plot is designed to demonstrate the fact of the alogombism of life.

Two lonely and helpless shapes, two creatures lost in someone else's and hostile world, Vladimir and Estragon, are waiting for Mr. Godo, the meeting with whom should resolve all their troubles. Heroes do not know who he is so and can help them. They never saw him and are ready to accept any passerby for the year. But they are hardly waiting for him, filling the infinity and the troublingness of the expectations of conversations about anything meaningless actions. They are not sleepy and hungry: divide the turnips in half and very slowly, savoring, eat it. Fear and despair before the prospect and further to moisture unbearably a miserable existence more than once leads them to the thought of suicide, but the only rope is torn, and they have no other. Daily in the morning they come to the agreed meeting place and each evening leaves anything. Such is the plot of the play, consisting of two acts.

Externally, the second act seems to repeat the first, but it is only likely. Although nothing happened, but at the same time changed. "Hopelessness intensified. I passed the day or year is unknown. Heroes were aged and finally fell by the Spirit. They are all in the same place under the tree. Vladimir is still waiting for the year, or rather, trying to convince the buddy (and himself) in this. Estragon lost all faith. "

Heroes Beckett can only wait, nothing more. This is a full paralysis of will. But the expectation is increasingly becoming meaningless, because the false mustlera (boy) constantly moves the meeting since the year to "tomorrow", not approaching the unfortunate no one step towards the ultimate goal.

Beckett holds the idea that there is nothing in the world, what a person could be sure. Vladimir and Estragon do not know whether they really are at a reasonable place, do not know what day the day and year is now. The inability to figure out and understand something in the surrounding life is obvious at least in the second act when heroes, coming the next day, do not recognize the places where they were waiting for the day before. Estragon will not recognize his shoes, and Vladimir is not able to prove anything. Not only heroes, but together with them and the audience involuntarily begin to doubt, although the place of waiting is all the same. Nothing in the play can not be said with confidence, everything is unspecified and uncertain. A boy comes on to Vladimir and Estragon twice, but for the second time the boy tells them that he had never been here before and sees heroes for the first time.

In the play, it repeatedly arises a conversation that the estragon humble shoes, although they are worn out and holes. He constantly puts on and again with great difficulty removes them. The author, as it were, tells us: So you can't free yourself from the movements of the way. Episodes with shoes are introduced into the play by the element of comic, farco start, these are the so-called "lower images" (Koreneva M.), borrowed by the Bekket from the tradition of "lower culture", in particular the musical hall and circus clown. But at the same time, the farce reception is translated by a beckett to the metaphysical plan, and the shoes become a symbol of the nightmare of being.

The clowns are scattered throughout the work: here, for example, the scene, when the hungry tarragon greedily clogs the chicken bones, which throws him a rich Pozzo, servant Pozzo, Lakki, looking with longing, as his lunch is destroyed. These techniques are present in the dialogs and speeches of the heroes: when the hat was put on Lakki, he spews a completely inconception of a verbal flow, removed the hat - the flow immediately dried. The dialogues of the heroes are often alogichny and are built on the principle when the speakers say each of their own, without listening to each other; Sometimes, Vladimir and Estragon and felt like a circus presentation:

INl.: Wonderful evening.
East.: Unforgettable.
Vl.: And he has not ended yet.
East.: Apparently no.
Vl.: He just started.
East.: It's horrible.
VL.: We are exactly on the presentation.
East.: In the circus.
Vl.: In Music Hall.
East.: In the circus.

Increasing juggling with words and phrases fills the emptiness of the intolerable expectation state; A similar verbal game is the only thread separating heroes from non-existence. That's all that they are capable. Before us is a complete paralysis of thinking.

Low and high, tragic and comic are present in the play in an inseparable unity and determine the genre nature of the work.

Who is such a year? God (God?) Death (Tod?) Interpretations set, but one thing is clear: Godo is a symbolic figure, it is completely deprived of human warmth and hope, it is inclusive. What is waiting for year? Maybe the human life itself, which has become in this world nothing else, as the expected death? Will come annually or not - nothing will change, life will remain the hell.

The world in tragifars Beckett is a world where "God died" and the "heavens of the deserts", and therefore in vain expectations.

Vladimir and Estragon are eternal travelers, "all human genus", and the road in which they are brave, is the road of human being, all points of which are conditional and random. As already mentioned, there is no movement in the play as such, there is only a movement in time: during the first and second acts on the trees, the leaves bloom. But this fact does not contain anything specific - only an indication of the course of time, which has no beginning, no end, as they do not have in a play, where the final is fully adequate and interchangeable with the beginning. Time here is only "to build up", or otherwise, in Falknerovsky: "Life is not a movement, but a monotonous repetition of the same movements. Hence the ending of the play:

Vl.: So we go.
Estra: Go.
Remark : They do not move.

The creators of the dramaturgy of the absurd of their main means of disclosure of the world and man were elected grotesque, the reception that became dominant not only in the drama, but also in prose the second half of the 20th century, the statement of the Swiss playwright and Prosaika F. Durrenmatta: "Our world came to Grotesque, As with the atomic bomb, just like the grotesque apocalyptic images of Jerome Bosch. Grotesque is only a sensual expression, a sensual paradox, a form for something shapeless, the face of the world deprived of any person. "

In 1969, C. Beckett was celebrated by the Nobel Prize.

3. Features of the narrative equipment E. ionesko

Ionesso Eugene(1912-1994) - one of the creators of the "antidra" and the "absurd theater". Ionisko by origin Romanian. Born on November 26, 1912 in the Romanian city of Slatina. Parents in early childhood took him to France, until 11 years he lived in the French village of La Chapel-antensels, then in Paris. Later he said that the children's impressions of rustic life were largely reflected in his work as memories of the lost paradise. At the age of 13, returned to Romania, to Bucharest, and lived there until 26 years. In 1938 he returned to Paris, where he lived the rest of his life.

So, in the work of ionesko, the system of philosophical and aesthetic views of the theater of the absurdity found its most complete expression. The task of the theater, on ionisko, give a grotesque expression of the absurdity of modern life and a modern person. The playwright considers the truth-like by the deadly enemy of the theater. He proposes to create a certain new reality, balancing on the verge of real and irreal, and the main means in achieving this goal, he considers the language. The language in no way can express thought.

The language in the plays of ionesko not only does not fulfill the function of communication, communication between people, but, on the contrary, aggravates the separation and loneliness of them. We are only visibility of a dialogue consisting of newspaper stamps, phrases from the self-tutorial of a foreign language, and even the fragments of words and phrases that are accidentally stuck in the subconscious. Characters Ioneko is inseparable not only speech, but also the thought itself. His heroes have little remind of ordinary people, it is rather robots with a spoiled mechanism.

Ionessko explained his addiction to the comedy genre of the fact that it was the comedy with the greatest completeness that expresses the absurdity and hopelessness of being. This is his first play "Bald singer" (1951), although there is no hint of anything in it. The reason for her writing was the acquaintance of Jionesko with the English tutorial, ridiculous and banal phrases of which were the basis for the text of the play.

She has a subtitle - "Anti-Piese". There is nothing from the traditional drama in the work. A married couple of Martens comes to the Smiths, and throughout the action there is a replica, deprived of meaning. There are no events or development in the play. Only a language changes: by the end of the work, it turns into inseparable syllables and sounds.

Language automatism is the main topic of the bald singer's play. It exposes the philistine conformism of a modern man who lives ready ideas and slogans, his dogmatism, the narrowness of the horizon, aggressiveness - the features that will later turn it into the rhino.

In tragifars "Chairs" (1952) showed the tragic fate of two old people, beggars and lonely living on the verge of a real and illusory world. The old man-psychopath imagines himself with a certain Messiah. He invited guests to tell them about it, but they do not come. Then the old men play the scene of reception of guests, in which unreal, fictional characters are more real than living people. At the end, the old man pronounces the prepared speech, and we are again absurd verbal flow - a favorite reception ionesko:

Old woman: Did you call the guard? Bishops? Chemists? Kochegarov? Violinists? Delegates? Chairmen? Police? Merchants? Briefcases? Chromosome?
Old man: Yes, yes, and postal officials, and teachers, and artists ...
Old woman: And bankers?
Old man: Invited.
Old woman: And workers? Officials? Militarists? Revolutionaries? Reactionaries? Psychiatrists and psychologists?

And again the dialogue is built as a kind of installation of words, phrases, where the meaning does not play the role. The old men end the life of suicide, trusting the speaker to express the truth for them, but the speaker turns out to be deaf-and-and-the-day.

The play "Rhinos" (1959) is a universal allegory of human society, where the transformation of people in animals is shown as a natural consequence of social and moral obstacles (just as it happens in Novella F. Kafki "Transformation").

Compared to the previous works, this play is enriched with new motives. Saving some of the elements of our previous poetics, Ionessko depicts the world affected by spiritual disease - "onnoorbing", and first introduces the hero who can actively resist this process.

Place of action in the play is a small provincial town, the inhabitants of which are covered by a terrible disease: they turn into rhinos. Beranta's principal hero faces universal "butterness", with voluntary refusal of people from human appearance. In contrast to its former statements that it is not real reality should be at the heart of the work, the playwright creates a satir for totalitarian regime in "rhino". He draws a versatility of sickness people. The only person who retained the human appearance remains bearing.

The first readers and the audience saw in the play primarily the anti-fascist work, and the disease itself was compared with the Nazi Chuma (and again an analogy - with the "Chuma" A. Kama). Later, the author himself explained the idea of \u200b\u200bhis play: "Rhinos", undoubtedly, the anti-Nazi work, but, first of all, this is a play against collective hysteries and epidemics hiding under the distortion of mind and ideas, but not growing with less serious collective diseases that justify various ideologies. "

Hero Beranta is a loser and idealist, a man "not from this world." He negligently applies to everything that his fellow citizens are reading and what is considered to be the indicator of the "Prices" of a person: Pedantism, accuracy, successful career, a single standardized way of thinking, life, tastes and desires. Jionesko again collapses the flow of capital truths and empty phrases on the viewer, but this time people are trying to hide their limitations and devastation.

Bearing in the play has antipod. This is Jean, smug, deeply convinced of his infallibility and right. He teaches the hero of the mind and suggests follow him. In front of Beranta, he turns into a rhino, he also had prerequisites to become a beast, now they have been realized. At the time of the transformation of Jean between him and Berance, there is a conversation, which reveals the human-native essence of this respectable manual ("Let them don't get on my way," he exclaims, "or I will crush them!"). He calls to destroy human civilization and instead to introduce the laws of the surname herd.

Jean almost kills Beranta. So you have to hide in your home. Around it or rhinos, or people who are ready to turn them into them. The former friends of the hero are also poured into rows of rhinos. The latter, the most crushing, hitting his beloved desi.

Standardization and chance made possible quick and painless transformation of people around him in animals. Through thinking, lifestyle and behavior prepared the transition of the human herd to the beast.

Ionesso pays a lot of attention to the image of the personal tragedy of the hero, losing not only friends, but also a favorite girl. Scene Farewell Beranta with Desi is written by the author with great library. She transmits the feeling of the hero, which did not in the power to keep the most expensive being. He is desperate, remaining quite alone, in despair from the inability to become such as everything. The inner monologue of Beranta leaves the oppressive impression of the tragic paradoxicity of the world, in which a person dreams of abandoning himself to not only be one. Externally, it remains a person, but internally turns out to be extruded by a mighty sovereign herd.

However, at the end of the play, the hero again gains lost courage. Turning to rhino, he shouts: "No, I will never turn into a rhino, never, never! I can't change ... well, let it be so! I will defend against the whole world! My rifle! .. I will fight against the whole world, I will fight against everyone! I am the last and until the end of the man! "

The hero is a single, defending away from the dark forces, is such a leader of the "Rhinos" play.

A feature of the above-garde drama is the compound of a particular historical plan and universal, universal desire to see in today's "a certain unchanged general basis that can be revealed directly in itself." That is why the theater of absurdity is peculiar to the deep subtext, which allows each time to read the drama and interpret its ideas and images in a new way.

Of course, the Tsangangard theater is designed not for the mass spectator. Ionessko himself said that this is the theater for the elite, because it is a search theater, a theater laboratory. However, the playwright is convinced that the existence of the elite theater is due to the spiritual needs of modern society.

1. Andreev, L. G. Modern literature in France: 60s / L. G. Andreev. - M., 1977.

2. Dusen, I. B. Paradox Theater / I. B. Dushen. - M., 1991.

3. Korenev, M. M. Artistic World of Beckett / M. M. Koreneva // Dramaturgors Laureates of the Nobel Prize. - M., 1998.

4. Mikheeva, A. When rhinos run on stage. Theater of Absurd E. ionesko / A. Mikheev. - M., 1967.

5. Proskurnikova, T. French Anti-Roman / T. Proskinnikova. - M., 1968.

6. Yakimovich, T. Dramaturgy and theater of modern France / T. Yakimovich. - Kiev, 1968.

Since the 50s of the twentieth century, on various theatrical scenes, there are increasingly places with a meaningless plot, representing the viewer, seemingly combining incompatible. Such a new theater phenomenon that destroyed traditional dramatic laws that did not recognize any authorities became the so-called theater absurd (or drama absurd ) - Paradox theater, "Speech Tragedies", a theater experiment, requiring improvisation not only from the actor, but also from the viewer. The theater of the absurd challenged the cultural traditions and to some extent a political and social system.

His origins stood three French and one Irish author - Eugene Ionessko, Jean wife, Artyur Adamov and Samuel Beckett.

Wanting to give a name to such unusual plays, the English critic Martin Esslin in 1961 introduced the concept "Theater of Absurd" . But, for example, Eugene Ionesso considered the term "theater of absurd" not too appropriate, he suggested another - "Moche Theater" . And the idea of \u200b\u200bsuch a genre of the play came to him during the study of English on the tutorial. E. Ionessko was surprised to find that in ordinary words the abyss of the absurdity was tied, due to which the smart and high-footer phrases completely lose their meaning. The playwright explained the purpose of such a play: "We wanted to get to the scene and show the audience the existential existence of a person in its fullness, integrity, in his deep tragedy, his fate, that is, awareness of the absurdity of the world."

Indeed, the events of any plays of the theater of the absurdity are far from reality and do not seek to get closer to it. Incredible and unimaginable can manifest themselves both in the characters and in the surrounding items and occurring phenomena. The place and time of action in such dramatic works, as a rule, is quite difficult to determine. There are no logic in any characters or in their words.

We highlight the overall features characteristic of the work of the theater of the absurdity: Material from site.

• fantastic elements are adjacent to reality;
• the so-called mixed, uniting different genres: tragicomedy, tragifars, comic melodrama, and others come to replace "pure" dramatic genres.
• elements of different types of art (pantomime, choir, musical, etc.) are used;
• in contrast to the natural dynamic scene, the static is often observed. According to E. ionesko, "Agony, in which there is no real action";
• the changes are subject to the speech of the characters that often simply do not hear and do not see each other, say "parallel" monologues into emptiness.

The end of the 60s of the twentieth century was marked by international recognition of the theater of the absurd. One of his founders Samuel Beckett in 1969 was awarded the Nobel Prize in Literature. Answering the question " Is there a future from the theater of the absurd?", Eugene Jionesko argued that this direction would live forever, because" the absurd so fill in my reality, the one, which is called "realistic reality", that reality and realizations seem to us as true, as absurd, and the absurd seems to be reality: around yourself. "

The effect of the theater of the absurd on the development of contemporary art is difficult to overestimate: in world literature he will be given new topics, dramatically supplied new techniques and environments, contributed to the liberation of the modern theater as a whole.

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In the late 19th - early 20th century, finally, an art programmed for misunderstanding appeared. "Finally," at least because now it is not necessary to build a connoisseage from yourself so as not to enjoy ignorant. He fascinated by the theater of the absurdity and the "new novel", it is not necessary to explain the lifting sense with the foam at the mouth, no obvious subtext, symbolism and the like important components that need analysis and analysis. Let them indulge, let the books and molded pages, like the cards in the gambling table, where you have trumps under the green cloth. You know that art is not identical reality, it does not obey its laws and is not obliged to log it. On the other hand, any righteous anger in his address is a compliment for the creators, it is such an effect that they achieved. The founder and theorist of the theater of the absurdity Eugene ionesko spoke of his productions:

"Seven years passed from the moment when I played my first play in Paris. It was a modest success, a mediocre scandal. My second play, the failure was a little more loud, the scandal is somewhat bigger. And only in 1952, in connection with the "chairs", the events began to take a wider turn. Every evening, eight people were present in the theater, a very dissatisfied play, but the noise caused by it was heard a much larger number of people in Paris, in all of France, he flew to the German border. And after the emergence of my third, fourth, fifth ... The eighth plays of rumors about their failures began to spread by gigantic steps. The outrage stepped over La Mans ... passed to Spain, Italy, spread in Germany, moved on ships to England ... "

Have you noticed regret? It is not in mom. If you have a smaller imitation of classic samples in the rear legs, it does not cause emotions at all, except for the sluggish superiority over those who do not go to those who do not walk, the bald singer's play, for example, causes devilish emotions, is akin to the magical ritual.

In the 1950s, the theater of the absurd is coming to the scene. The so-called antithra finally destroys the classic theater, representing the alogyrism of life in scolding extremes. Exclamation "This is full of nonsense!" - Only a compliment Mastery of Ionessko, Ibson, Viana, Cokto and other new playwrights.

The theater of the absurdity relies on surrealism (shape) and existentialism (content): the plays are deprived of the plot, causal relationships and basvroom morality, which many viewers are fiercely looking for in performances; They are frankly absurd, loosely beautiful and outrageous. Language is not a means of communication, but a formless scenery: on its background, a daily, monotonous and meaningless party to life is played. Spatially - temporary shifts confuse the trace of the desired sense finally. Do not look for secret intricateings Replica and actions: they are tailored by chance, as a factory marriage.

Ionessko about creating a play: "I conscientiously rewrote the phrases taken from my leadership. Carefully reread them, I knew not English, but amazing truths: that the week seven days, for example. This is what I knew before. Or: "Paul at the bottom, the ceiling at the top" that I also knew, but probably never thought about it seriously or, perhaps, I forgot, but it seemed to me as indisputable as the rest, and as faithful ... ".

Eparage is not an end in itself, and the means to convey already known, brought truths in a new form, modern language. Few who like the routine, teeth drives from the same. Many reproach the theater of the absurdity in vulgarity (sexual scene, abnormative vocabulary), in cruelty and promotion of violence (fights to blood, aesthetics ugly), etc. But the fact that immoral in life acquires the goal and value in art, reality and fiction - not the same thing as "the ceiling - upstairs, the floor is below."

What is the play "Bald singer"?

This is an attempt to ask a question "What is the meaning of life?" Without aspiration to get an answer. The monotony of life, multiplied by the loneliness of each of us, leads to the despair of those who find the strength and ability to admit it. Yes, existentialists said, no sense, there is no sense, the person is abandoned in the world by chance, but the world is resolutely noting at him. No destination, no vocation, no debt before the Most High behave well. We live for the sake of the process of life, savoring the little things, affordable understanding, and only. Hence the complete lack of a plot in the works: there is no one in our everyday life, there is only for the ears the attracted goals and means as a mission in a computer game. However, the gamer will not make the weather another conquered castle or killed Orc, it is drawn into the process of conquest and murder. It is not necessary to dust: a man is aggressive, and fights, and sex, and violence likes. Theater is more honest than many kinds of art.

It would be possible to tell the plot, but it is not. It makes sense, but it is not. Press the quotes, but there is no indicative wisdom for Follover. With a formal dialogic structure, all said is a monologue. Scattered phrases are distributed in emptiness, no one perceives them, and they are turned to nowhere, like many of our conversations. The final is open, and no one explains anything. Curtain. Here is such a worthless book.

In fact, all the plays of this kind are written in the genre of tragifars, who are inherent in grotesque, parody, kitsch and artistic banner. Ionessko hyperbolizes the married apathy and the impassable Meshchanism of life, sparkled the aimless chat "Friends" (which is unimaginably bored with each other, but they are taken to gather and be fun), the existence of the wrestling on the verge of a scorement and showed our cues in all its Krasov. We are not talking, but we say, do not talk, but support the illusion of conversations, I love to sleep in warm and eat in the comfort with a full sense of dreary security. The thought is so rolled into the primitive that it will sound in it, as in oil, which is better at the grocers at the corner. Painful reflection, as a response to the tragic events of the 20th century, inspired the playwrights to express in vain expectations, unconscious, but the insurmountable alienation of people from each other, comic attempts to "live, no matter what happened" after world wars and global shocks.

The theater of the absurdity is not like everyone, many even deny that this "pornography" has the right to produce. It is difficult to look, and also to play and suppressed. Jionesko attracted to participate in its statements of non-professional, as the actors played, and did not live on stage. They were not ready to experiment, they were taught differently. But unprepared, random people behaved exactly as the townsdays after dinner and their guests. The reason for such an attitude is that the author of Lysa Singer understood the theater otherwise than his predecessors:

"The theater is what is shown on stage"

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