Defnyddiwr:AlwynapHuw/Theatr yr Absẃrd

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Theatr yr Absẃrd

Mae Theatr yr Absẃrd yn ddynodiad penodol o ddramâu a daeth i'r amlwg ymysg dramodwyr Ewropeaidd yn y cyfnod ar ôl Yr Ail Ryfel Byd yn ogystal â dynodiad ar gyfer y dull o theatr sydd wedi esblygu oddi wrth eu gwaith. Mae eu gwaith yn canolbwyntio i raddau helaeth ar y syniad o ddirfodaeth a mynegi beth sy'n digwydd pan nad oes gan fywyd dynol unrhyw ystyr neu bwrpas. Ei neges yw bod bywyd yn ddiystyr ac, oherwydd hynny, yn Absẃrd. Mae’r math yma o theatr yn aml yn swrrealaidd, yn ddireswm a heb blot. [1]

Cefndir[golygu | golygu cod]

Y beirniad llenyddol Martin Esslin , a fathodd y term yn ei draethawd o 1960 "Theatr yr Absẃrd." [2] Roedd yn gysylltiedig â thema gyffredinol yr absẃrd sydd yn debyg i'r ffordd bu Albert Camus yn defnyddio'r term yn ei draethawd 1942 , Myth Sisyphus. [3] Mae'r Absẃrd yn y dramâu yn cymryd ffurf cymeriad yn ymateb i fyd sydd, yn ôl pob golwg, heb ystyr, a/neu gymeriad sydd fel pyped yn cael ei reoli neu ei fygwth gan rymoedd anweledig allanol. Ceir enghraifft o'r elfen hon o Theatr yr Absẃrd yng ngwaith Gwenlyn Parry, Saer Doliau, lle mae Ifans y saer yn gwrthod agor seler ei weithdy rhag ofn i fwystfil cael ei ollwng [4]. Mae hyn yn arddull o ysgrifennu a boblogeiddiwyd yn gyntaf yn nrama 1953 Samuel Beckett Wrth Aros Godot.

Dramodwyr yr Absẃrd[golygu | golygu cod]

Mae dramodwyr sy'n cael eu cysylltu â Theatr yr Absẃrd yn cynnwys Samuel Beckett, Eugène Ionesco, Jean Genet, Arthur Adamov, Harold Pinter, Luigi Pirandello, Tom Stoppard, Friedrich Dürrenmatt, Miguel Mihura, Alejandro Jodorowsky, Fernando Arrabal, Václav Havel, Edward Albee, Malay Roy Choudhury, Tadeusz Różewicz, Sławomir Mrożek, N.F. Simpson a Badal Sarkar. Yn y Gymraeg mae'r dramodwyr sydd wedi sgwennu dramâu Theatr yr Absẃrd, neu sy'n cynnwys elfennau absẃrd yn eu plotiau yn cynnwys Saunders Lewis, Wil Sam, Gwenlyn Parry[5] Meic Povey, John Gwilym Jones, Aled Jones Williams a Llŷr Titus.

Dylanwad[golygu | golygu cod]

Er bod Theatr yr Absẃrd yn cael ei boblogeiddio yn ystod y 1950au cynnar ac yn cael ei selio ar "argyfwng gwacter ystyr" y 50au a'r 60au mae ei gwreiddiau yn ymestyn yn bell yn ôl. Ceir elfennau o'r absẃrd yng ngwaith pobl fel Shakespeare. Mae agwedd eu teuluoedd i berthynas Romeo a Juliette yn gwneud eu bywydau hwy yn ddiystyr a diwedd eu bywydau yn absẃrd. Mae dramâu miragl a gweithiau piwritaniaid megis y Bardd Cwsg a Morgan Llwyd yn pwysleisio gwerth bywyd y crediniwr triw. Ond mae elfen "Heb Dduw Heb Ddim" eu gwaith yn dangos pa mor ddiwerth o absẃrd yw bywyd y pechadur colledig. Mae agweddau sioeau'r Moulan Rouge a theatr vaudeville sy'n pwysleisio mwynhau pleserau'r eiliad, rhag ofn na ddaw cyfle arall i fwynhau yn absẃrd. Mae yna elfennau o'r absẃrd i'w gweld mewn ffilmiau'r sgrin fud gynnar megis bywyd ofer trempyn Charlie Chaplin ac oferedd y Keystone Kops i gynnal cyfraith a threfn. Yn wir gellir olrhain rhai o elfennau Theatr yr Absẃrd yn ôl i ddyddiau'r theatr Roegaidd.

Theatre of the Absurd, dramatic works of certain European and American dramatists of the 1950s and early ’60s who agreed with the Existentialist philosopher Albert Camus’s assessment, in his essay “The Myth of Sisyphus” (1942), that the human situation is essentially absurd, devoid of purpose. The term is also loosely applied to those dramatists and the production of those works. Though no formal Absurdist movement existed as such, dramatists as diverse as Samuel Beckett, Eugène Ionesco, Jean Genet, Arthur Adamov, Harold Pinter, and a few others shared a pessimistic vision of humanity struggling vainly to find a purpose and to control its fate. Humankind in this view is left feeling hopeless, bewildered, and anxious. The ideas that inform the plays also dictate their structure. Absurdist playwrights, therefore, did away with most of the logical structures of traditional theatre. There is little dramatic action as conventionally understood; however frantically the characters perform, their busyness serves to underscore the fact that nothing happens to change their existence. In Beckett’s Waiting for Godot (1952), plot is eliminated, and a timeless, circular quality emerges as two lost creatures, usually played as tramps, spend their days waiting—but without any certainty of whom they are waiting for or of whether he, or it, will ever come.

Language in an Absurdist play is often dislocated, full of cliches, puns, repetitions, and non sequiturs. The characters in Ionesco’s The Bald Soprano (1950) sit and talk, repeating the obvious until it sounds like nonsense, thus revealing the inadequacies of verbal communication. The ridiculous, purposeless behaviour and talk give the plays a sometimes dazzling comic surface, but there is an underlying serious message of metaphysical distress. This reflects the influence of comic tradition drawn from such sources as commedia dell’arte, vaudeville, and music hall combined with such theatre arts as mime and acrobatics. At the same time, the impact of ideas as expressed by the Surrealist, Existentialist, and Expressionist schools and the writings of Franz Kafka is evident.

This 1975 dramatization of Eugène Ionesco's one-act play The New Tenant is an excellent example of Theatre of the Absurd, though the author himself preferred to describe his work as “theatre of derision.” Encyclopædia Britannica, Inc. Originally shocking in its flouting of theatrical convention while popular for its apt expression of the preoccupations of the mid-20th century, the Theatre of the Absurd declined somewhat by the mid-1960s; some of its innovations had been absorbed into the mainstream of theatre even while serving to inspire further experiments. Some of the chief authors of the Absurd have sought new directions in their art, while others continue to work in the same vein.


While absurdists believed that life is absurd, they also believed that death and the "after life" were equally absurd if not more, and that whether people live or not all of their actions are pointless and everything will lead to the same end (hence the repetitiveness in many of these absurdist plays).

In his 1965 book, Absurd Drama, Esslin wrote:

... the Theatre of the Absurd attacks the comfortable certainties of religious or political orthodoxy. It aims to shock its audience out of complacency, to bring it face to face with the harsh facts of the human situation as these writers see it. But the challenge behind this message is anything but one of despair. It is a challenge to accept the human condition as it is, in all its mystery and absurdity, and to bear it with dignity, nobly, responsibly; precisely because there are no easy solutions to the mysteries of existence, because ultimately man is alone in a meaningless world. The shedding of easy solutions, of comforting illusions, may be painful, but it leaves behind it a sense of freedom and relief. And that is why, in the last resort, the Theatre of the Absurd does not provoke tears of despair but the laughter of liberation.

Playwrights commonly associated with the Theatre of the Absurd include Samuel Beckett, Eugène Ionesco, Jean Genet, Arthur Adamov, Harold Pinter, Luigi Pirandello, Tom Stoppard, Friedrich Dürrenmatt, Miguel Mihura, Alejandro Jodorowsky, Fernando Arrabal, Václav Havel, Edward Albee, Malay Roy Choudhury, Tadeusz Różewicz, Sławomir Mrożek, N.F. Simpson and Badal Sarkar.

Origin[golygu | golygu cod]

In the first edition of The Theatre of the Absurd, Esslin saw the work of these playwrights as giving artistic meaning to Albert Camus's philosophy that life is inherently without meaning, as illustrated in his work The Myth of Sisyphus. In the first (1961) edition, Esslin presented the four defining playwrights of the movement as Samuel Beckett, Arthur Adamov, Eugène Ionesco, and Jean Genet, and in subsequent editions he added a fifth playwright, Harold Pinter—although each of these writers has unique preoccupations and characteristics that go beyond the term "absurd."[6][7] Other writers associated with this group by Esslin and other critics include Tom Stoppard,[8] Friedrich Dürrenmatt,[9] Fernando Arrabal,[10] Edward Albee,[11] Boris Vian,[12] and Jean Tardieu.

Significant precursors[golygu | golygu cod]

Though the label "Theatre of the Absurd" covers a wide variety of playwrights with differing styles, they do have some common stylistic precursors (Esslin [1961]). These precursors include Elizabethan tragicomedy, formal experimentation, pataphysics, surrealism, Dadaism, and most importantly existentialism.

Notes[golygu | golygu cod]

  1. ↑ The Hutchinson Encyclopedia, Millennium Edition, Helicon 1999.
  2. ↑ Esslin, Martin (1961). The Theatre of the Absurd. OCLC 329986.
  3. ↑ Culík, Jan (2000). "THE THEATRE OF THE ABSURD: THE WEST AND THE EAST". University of Glasgow. Archifwyd o'r gwreiddiol ar 2009-08-23.
  4. ↑ Planet The Welsh Pinter A review of Saer Doliau (Doll Mender) at Finborough Theatre, London adalwyd 6 Medi 2018
  5. ↑ Prifysgol Aberystwyth - Nodiadau ar Y Tŵr adalwyd 5 Medi 2018
  6. ↑ Martin Esslin, The Theatre of the Absurd (Garden City, NY: Doubleday, 1961). (Subsequent references to this ed. appear within parentheses in the text.)
  7. ↑ Martin Esslin, The Theatre of the Absurd, 3rd ed. (New York: Vintage [Knopf], 2004). (Subsequent references to this ed. appear within parentheses in the text.)
  8. ↑ Terry Hodgson. The plays of Tom Stoppard: for stage, radio, TV and film.Palgrave Macmillan, 2001. ISBN 1-84046-241-8, ISBN 978-1-84046-241-8.pg.181.
  9. ↑ Joel Agee. Dürrenmatt, Friedrich: Friedrich Dürrenmatt.University of Chicago Press, 2006. ISBN 0-226-17426-3, ISBN 978-0-226-17426-6. pg. xi
  10. ↑ Felicia Hardison Londré, Margot Berthold. The history of world theater: from the English restoration to the present. Continuum International Publishing Group, 1999. ISBN 0-8264-1167-3, ISBN 978-0-8264-1167-9. pg. 438
  11. ↑ Barbara Lee Horn. Edward Albee: a research and production sourcebook. Greenwood Publishing Group, 2003. ISBN 0-313-31141-2, ISBN 978-0-313-31141-3. pg. 13, 17 29, 40, 55, 232.
  12. ↑ Neil Cornwell. The Absurd in Literature. Manchester University Press ND, 2006. ISBN 0-7190-7410-X. pg. 280.
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