EMBODIMENT AND ESSENCE IN THE THEATRE OF THE ABSURD by JEREMY EKBERG A ...

201 Pages·2011·0.66 MB·English

ONTOLOGICAL EMPOWERMENT: EMBODIMENT

AND ESSENCE IN THE THEATRE

OF THE ABSURD

by

JEREMY EKBERG

A DISSERTATION

Submitted in partial fulfillment of the requirements
for the degree of Doctor of Philosophy
in the Department of English
in the Graduate School of
The University of Alabama

TUSCALOOSA, ALABAMA

2011
Copyright Jeremy Ekberg 2011
ALL RIGHTS RESERVED
ABSTRACT

Many of the plays of modern drama offer characters who struggle in uncertain and
bizarre worlds to create meaning or some sense of identity for themselves. The uncertainty
caused by constantly shifting values and traditions forces characters to metamorphose at each
instant into new beings who in turn struggle to create meaning through language, games, and
remembering, which are all types of ontological embodiment. Ontological embodiment is that
process by which each character shapes the raw material of existence into successive
representations of the self via actions which allow for the creation of identity.
Each embodiment can be evaluated in relation to other embodiments for its authenticity.
The greater the extent to which an embodiment is concerned with the character himself rather
than others, the greater the authenticity of that embodiment. The more authentic a particular
character's embodiments are, the greater his ontological self-knowledge, that knowledge of the
self which allows for independent thinking. This ontological self-knowledge enables characters
to live without the burden of pre-established mores or values. These mores or values are often
unquestioned by individual characters who live by their edicts without examining them for their
beneficial or detrimental aspects.
Among the characters in the plays of Samuel Beckett, Jean-Paul Sartre, and Eugene
Ionesco, only a few embody themselves with any real authenticity. The others, because they
focus their ontological embodiments on others by attempting to change those others to suit their
own needs or by trying to curry their favor, embody themselves inauthentically and as a result
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fail to achieve the requisite ontological self-knowledge to think for themselves. Only Clov, of
Beckett's Endgame, Kean and Anna of Sartre's Kean, and Berenger of Ionesco's Rhinoceros,
embody themselves in an authentic manner with any consistency. Clov is recalcitrant to his
master Hamm, while Kean and Anna renounce the social hierarchy of England to start a new life
in America and Berenger resists the temptation to become a rhinoceros. These actions prove that
each of these characters focuses his embodiments on himself and his own ontological self-
knowledge rather than on that of another.

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DEDICATION

This dissertation is dedicated to my family and close friends who stood by me throughout
the time taken to complete this often demanding dissertation. Thanks to Wendy, Mom, and
Maria. Also, thanks to my astute committee for taking me to task on the elaboration of my ideas
and my often tenuous sentence structure: Patti, Emily, Steve, Albert, and Fred.

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ACKNOWLEDGMENTS

I am pleased to thank the many colleagues, friends, and faculty members who have
helped me with this research project. I am indebted to Patti White, the chair of this dissertation,
for sharing her research expertise and wisdom. I would also like to thank all of my committee
members: Steve Burch, Albert Pionke, Fred Whiting, and Emily Wittman, for their invaluable
input, inspiring questions, and support of both the dissertation and my academic progress.
This dissertation would not have been possible without the support of my friends and
fellow graduate students and of course of my family who never stopped encouraging me to
persist.

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CONTENTS

ABSTRACT ................................................................................................ ii
DEDICATION ........................................................................................... iv
ACKNOWLEDGMENTS ...........................................................................v
1. CHAPTER I: INTRODUCTION .............................................................1
2. CHAPTER II: SARTREAN OTHERNESS AND ONTOLOGICAL
SELF-KNOWLEDGE ...............................................................................42

3. CHAPTER III: THE BECKETTIAN QUEST FOR SYMBIOTIC
EMBODIMENT ........................................................................................87
4. CHAPTER IV: IONESCO AND ESCAPE FROM THE HERD
MENTALITY ..........................................................................................133
5. CHAPTER V: CONCLUSION ...........................................................171
WORKS CITED ......................................................................................188

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CHAPTER I
INTRODUCTION

“All the ancient Gods reappeared as demons at a later date, The dwellers in Olympus became
evil spirits.”
− August Strindberg, “Tribulations”

“In vain do I fulfill the functions of a cafe waiter. I can be he only in the neutralized mode, as the
actor is Hamlet, by mechanically making the typical gestures of my state and by aiming at
myself as an imaginary cafe waiter through those gestures taken as an 'analogue.' ”

– Jean-Paul Sartre, Being and Nothingness

Transformation, epiphany, renewal. Gods and mortals alike are capable of undergoing
modification and indeed are compelled to undergo intermittent metamorphoses not only in
physio-psychological terms, but in terms of their very essences, their beings. Strindberg's
comments on the conversions of gods attest only to the inescapability of change for humans and
for gods, who being immortal must necessarily undergo more transformations than their mortal
counterparts while they live for eternity. As for Sartre, it is the gestures of an actor which
actualize these transformation not only for thespians but for all subjects. Unlike the gods and
mortals of Ovid's Metamorphoses, however, what is significant about these alterations is not the
change itself. The incessant renewal involved in each particular change is what is significant:
each state of being is chosen each instant because subjects are never complete or stable. Even an
epiphany is not an isolated incident to be experienced and then remembered as something
complete and unalterable. With each moment of his life, each subject undergoes the radical
reformation of his entire being. For gods and mortals alike the creation of an essence is never
completed once and for all, it is created with each thought and action and in each moment of
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existence. The gods of Olympus constantly metamorphose into evil spirits. Greek and Roman
mythology is rife with their mischief.
The manner in which any being remakes himself in each instant, with each action and for
the entirety of his life, will reveal much about how subjects ontologically fashion an essence out
of the existence thrust upon them by a force they do not understand, a force that according to
existentialist philosophers including Martin Heidegger and Jean-Paul Sartre, is contingent and
unjustifiable. In short, this force is one they do not comprehend and did not ask for. Being is
already there for each individual. There are no ontological guidelines that explain why it is there
or what the subject should do with it. Being is like a vast ocean. It overflows the subject, no one
can explain how it formed, and it is larger than any individual subject. In the modern world more
so than in the ancient, value systems have fallen away as valid avenues for self-creation.
According to theorists including Albert Camus and Martin Esslin, in many ways, religion,
politics, and even knowledge itself have lost their credibility because of the horrors of the
twentieth century's world wars, holocausts, and genocides. As a result, the pure raw material of
existence compels existent subjects to fashion some kind of essence which enables them to be in
ontological terms and without the benefit of the guidance provided by traditional values. This
process of making and remaking is perceptible through the actions of a given subject, which is
why drama – and especially modern drama, because of its adept explorations of states of being –
is the ideal genre in which to explore how consciousness and action work in tandem to fashion
some kind of essence, some class of characteristics for each subject in ontological terms or for
each character in dramatic terms.
Each subject's consciousness is divided. Sartre writes that conflict is at the heart of
otherness (Being and Nothingness, 1943, 477). This conflict is obvious in the inter-subjective
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struggles between subjects for sustenance, shelter, and affection. What is less obvious is how this
conflict manifests itself in intra-conscious relations, i.e. within a single subject. Because a single
consciousness is able to reflect upon itself, to meditate on its own thought patterns and to
examine its own habits, it is necessarily divided into what Sartre calls the reflective and pre-
reflective consciousness. But because each subject constantly decides what it will be,
consciousness is also divided into the constructive and destructive tendencies which exist on a
plane apart from the reflective and pre-reflective consciousnesses. These tendencies are more
than mere physiological impulses, they are ontological forces which impel the subject to create
his essence out of the raw material of existence. Each character remains compelled to
simultaneously build up and tear down his entire being at every instant.
The stage space or the printed page is a laboratory in which these series of embodiments
are obvious to the viewer or reader. Each action of Clov or Estelle or Berenger indicates the
ways in which he or she embodies his or her ontological being through these actions and to what
extent each embodiment is authentic and therefore productive rather than detrimental to his
ontological self-knowledge. For example, because Clov embodies his being with his own
subjecthood in mind rather than focusing his ontological energies on someone else, he has a
greater level of authenticity in comparison to others whose embodiments are focused outwardly
and comes to find a greater ontological self-knowledge by the end of Beckett's Endgame (1957).
Although Clov remains in a frozen tableau at the culmination of the play, and though this stasis
renders problematic any final assessment of his authenticity, if he does escape, it is his
ontological self-knowledge which empowers him to escape the control of his overbearing master,
Hamm. If this stasis means he fails to escape, he nevertheless gains some measure of
authenticity. This can be seen in his assertiveness against Hamm's numerous clamorings and his
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