The influence of existential philosophy on the Absurdist playwrights

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ACKNOWLEDGEMENTS

My thanks go out to all who have helped me complete this study and with whom this project may have not been possible. In particular, my gratitude goes out to friends, facilitator and family for extensive and helpful comments on early drafts. I am also deeply indebted to the authors who have shared my interest and preceded me. Their works provided me with a host of information to learn from and build upon, also served as examples to emulate.

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DECLARATION

I, (Your name), would like to declare that all contents included in this thesis/dissertation stand for my individual work without any aid, & this thesis/dissertation has not been submitted for any examination at academic as well as professional level previously. It is also representing my very own views & not essentially which are associated with university.

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Research plan for thesis proposal

The Theatre of the Absurd has a relatively long history of criticism within drama and theatre studies. With an article in 1960 and the publication of his 1961 book, The Theatre of the Absurd, Martin Esslin established a field of criticism and a “theatre,” in a sense, where the basic premise of the Theatre of the Absurd has remained, for the most part, largely unchallenged (Campbell 2001, 49). The common conception of the Theatre of the Absurd, via Esslin and the field (as a whole), is that this theatre purports the purposelessness of life as derived from Albert Camus' philosophy of the absurd.

Upon first noticing this “theatre's” parabolic nature which researcher will explore later in upcoming chapters researcher could not reconcile the basically bleak reading of this “theatre” with the meaning-making conclusions researcher observed (Davies 2002, 645). Researcher argues in this dissertation that these plays which constitute the Theatre of the ...