Rethinking the Theatre of the Absurd: Ecology, the Environment and the Greening of the Modern Stage eds. by Carl Lavery and Clare Finburgh

2018 ◽  
Vol 32 (2) ◽  
pp. 173-176
Author(s):  
Matthew Moore
Keyword(s):  
Theatre Of The Absurd

Paradox and Pedagogy in The Stanley Parable

2018 ◽  
Vol 15 (2) ◽  
pp. 179-197
Author(s):  
Antranig Arek Sarian
Keyword(s):  
Programmed Learning ◽  
Interactive Narratives ◽  
Theatre Of The Absurd

The Stanley Parable uses metafiction and elements borrowed from the “Theatre of the Absurd” to reveal a didactic, pedagogical, and despotic voice that lies below many of the choices found within gamebooks, literary games, and interactive narratives. The satirical character of the “narrator,” coupled with the game’s use of paradoxes, makes choosers aware of the catechistic structure that many didactic choices employ. This pedagogic choice structure has its roots in the TutorText series of programmed learning novels—a structure repeated (and hidden) by the Choose Your Own Adventure-style gamebooks that followed and that is subsequently parodied in The Stanley Parable. The Stanley Parable itself provides players with choices that lack a solution, with choices such as the “two doors” embodying a juxtaposition between the closed choices of TutorText and the open choices presented by the game.

The Theatre of the Absurd

The Absurd ◽  
2017 ◽  
pp. 8-13
Author(s):  
Arnold P. Hinchliffe
Keyword(s):  
Theatre Of The Absurd

Lankesh, P. (1935–2000)

2018 ◽  
Author(s):  
V.B. Tharakeshwar
Keyword(s):  
Public Sphere ◽  
Short Story ◽  
Theatre Of The Absurd ◽  
Story Writer ◽  
Plot Structure ◽  
The Way

P. Lankesh was a prominent Kannada novelist, short story writer, playwright, and essayist. A strong voice in the Kannada public sphere from the 1970s to the 1990s, he acted as a conscience-keeper not only through his writings, but also through Lankesh Patrike, a weekly he edited. Lankesh began his career as a teacher of English at Bangalore University, but soon shifted to filmmaking, then journalism. His short story collections Kereya Neerannu Kerege Chelli (1963), Nanalla (1970), Umapatiaya Scholarship Yaatre (1973), Kallu Karaguva Samaya (1990), and Ullanghane (1996) are landmarks in Kannada literature for the way they framed the debates in the respective decades. In his first novel, Biruku (1967), Lankesh used modernist techniques in writing, while his second novel, Mussanjeya Katha Prasanga (1978), shifted to the epic mode with episodic, multi-plot structure and a more realistic style of narration tinged with the comic. His third novel, Akka (1991), which depicts a woman of a slum through the eyes of her brother, was more pronouncedly political, reflecting Lankesh’s changed sensibility in the context of the Dalit and Bandaya (revolt) movement in Kannada literature, of which Lankesh was a vocal supporter. Lankesh was also one of the most important Kannada playwrights of his time, alongside Girish Karnad and Chandrashekar Kambar. His early plays exhibit the influence of existentialism and the Theatre of the Absurd. The best examples are T. Prasannana Gruhasthashrama (1962), Nanna Thangigondu gandu Kodi (1963), Polisariddare, Eccharike! (1964), Teregalu (1964), Kranti bantu, Kranti (1965), and Giliyu Panjaradolilla (1966). His later works Sankranti (1971) and Gunamukha (1993) are historical plays that reverberate with contemporary significance.

Public Law: The Theatre of the Absurd

1964 ◽  
Author(s):  
Edward McWhinney ◽  
Lionel D. Feldman
Keyword(s):  
Public Law ◽  
Theatre Of The Absurd

4. Salesmen, southerners, anger, and ennui

2016 ◽  
Author(s):  
Kirsten E. Shepherd-Barr
Keyword(s):  
Subject Matter ◽  
Tennessee Williams ◽  
Theatre Of The Absurd ◽  
Look Back ◽  
Streetcar Named Desire ◽  
Waiting For Godot ◽  
A Streetcar Named Desire ◽  
The Way ◽  
Death Of A Salesman

From 1940 to 1960 some of modern drama’s most famous plays were staged: Tennessee Williams’ A Streetcar Named Desire (1947) and Arthur Miller’s Death of a Salesman (1949), attaining a new kind of tragedy and a particularly American brand of realism; and, in London, Beckett’s Waiting for Godot (1955) and John Osborne’s Look Back in Anger (1956), introducing, respectively, the ‘theatre of the absurd’ and a new linguistic and emotional brutality, inaugurating an era of ‘kitchen sink’ realism. ‘Salesmen, southerners, anger, and ennui’ shows how these radically different dramas expanded plays’ subject matter as well as their formal and linguistic properties; in particular, they changed forever the way language (and silence) worked on stage.

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