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Reassessing the Theatre of the Absurd PDF

191 Pages·2012·4 MB·English
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Reassessing the Theatre of the Absurd 99778800223300111133338811__0011__pprreexx..iinndddd ii 22//2222//22001111 11::2288::1199 PPMM 99778800223300111133338811__0011__pprreexx..iinndddd iiii 22//2222//22001111 11::2288::1199 PPMM Reassessing the Theatre of the Absurd Camus, Beckett, Ionesco, Genet, and Pinter Michael Y. Bennett 99778800223300111133338811__0011__pprreexx..iinndddd iiiiii 22//2222//22001111 11::2288::1199 PPMM REASSESSING THE THEATRE OF THE ABSURD Copyright © Michael Y. Bennett, 2011. All rights reserved. First published in 2011 by PALGRAVE MACMILLAN® in the United States—a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978–0–230–11338–1 Library of Congress Cataloging-in-Publication Data Bennett, Michael Y., 1980– Reassessing the theatre of the absurd : Camus, Beckett, Ionesco, Genet, and Pinter / Michael Y. Bennett. p. cm. Includes bibliographical references. ISBN 978–0–230–11338–1 (alk. paper) 1. European drama—20th century—History and criticism. 2. Theater of the absurd. 3. Absurd (Philosophy) in literature. I. Title. PN1861.B44 2011 809.2(cid:1)04—dc22 2010041714 A catalogue record of the book is available from the British Library. Design by Newgen Imaging Systems (P) Ltd., Chennai, India. First edition: April 2011 10 9 8 7 6 5 4 3 2 1 Printed in the United States of America. 99778800223300111133338811__0011__pprreexx..iinndddd iivv 22//2222//22001111 11::2288::1199 PPMM To my parents And in loving memory of Julius Yudkovitz (1915–2010) Leah Yudkovitz (1919–2007) Mark Bennett (1944–2007) 99778800223300111133338811__0011__pprreexx..iinndddd vv 22//2222//22001111 11::2288::1199 PPMM 99778800223300111133338811__0011__pprreexx..iinndddd vvii 22//2222//22001111 11::2288::2200 PPMM Contents Acknowledgments ix Introduction: Reassessing the Theatre of the Absurd 1 Chapter 1 The Parable of Estragon’s Struggle with the Boot in Samuel Beckett’s Waiting for Godot 27 Chapter 2 The Pinteresque Oedipal Household: The Interrogation Scene(s) in The Birthday Party 53 Chapter 3 The Parable of the White Clown: The Use of Ritual in Jean Genet’s The Blacks: A Clown Show 71 Chapter 4 Berenger, The Sisyphean Hero 89 Conclusion: Theorizing a “Female Absurd” in Beth Henley’s Crimes of the Heart as Means of Reassessing the Theatre of the Absurd 101 Addendum #1: Defining the Parable 109 Addendum #2: Parables in Drama 125 Notes 135 Bibliography 167 Index 177 99778800223300111133338811__0011__pprreexx..iinndddd vviiii 22//2222//22001111 11::2288::2200 PPMM 99778800223300111133338811__0011__pprreexx..iinndddd vviiiiii 22//2222//22001111 11::2288::2200 PPMM Acknowledgments I have a number of people I need to thank who helped me over these past five-plus years with this book project. First, I am indebted to a number of professors who gave me a lot of their advice, support, and time: my dissertation committee (Jenny S. Spencer, James Freeman, and David Lenson), Joseph Donohue, Nicholas Bromell, Robert Combs, Adam Zucker, J. Chris Westgate, and Mark Blackwell. I would also like to thank my friends, who have constantly been there for me (both as friends and as readers) and inspired me (both intellectually and emotionally) throughout this long process: Eyal Tamir, Joel Anderson, Colin Enriquez, Shai Cohen, and Madelyne Camera. And a special thanks to my parents and family: I lit- erally could not have completed this without all of your love and support. 99778800223300111133338811__0011__pprreexx..iinndddd iixx 22//2222//22001111 11::2288::2200 PPMM

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the standards Esslin set forth for what he called the Theatre of the Absurd. If you are 4 I will suggest, instead, that these texts, rather, revolt against .. Because their goal was forgotten, humanity got lost in the labyrinth (elle est.
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