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The Theatre of the Absurd by Martin Esslin at Abbey's Bookshop,
The Theatre of the Absurd
— —
Martin Esslin

The Theatre of the Absurd

Martin Esslin

$49.99

Paperback

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English
Bloomsbury Academic
23 October 2014
Theatre Studies; Literary studies: from c 1900 -; Literary studies: plays & playwrights
Series: Bloomsbury Revelations
The ‘Theatre of the Absurd’ has become a familiar term to describe a group of radical European playwrights – writers such as Samuel Beckett, Eugène Ionesco, Jean Genet and Harold Pinter – whose dark, funny and humane dramas wrestled profoundly with the meaningless absurdity of the human condition. It is a testament to the power and insight of Martin Esslin’s landmark work, originally published in 1961, that its title should enter the English language in the way that it has.

Now available in the Bloomsbury Revelations series with a new preface by Marvin Carlson, The Theatre of the Absurd remains to this day a clear-eyed work of criticism on a compelling period of European writing.
By:  
Imprint:   Bloomsbury Academic
Country of Publication:   United Kingdom
Dimensions:   Height: 216mm,  Width: 138mm,  Spine: 24mm
Weight:   580g
ISBN:   9781472577023
ISBN 10:   1472577027
Series:   Bloomsbury Revelations
Pages:   432
Publication Date:  
Audience:   College/higher education ,  Professional and scholarly ,  Primary ,  Undergraduate
Format:   Paperback
Publisher's Status:   Active
Acknowledgements Foreword Forty Years On Introduction: The Absurdity of the Absurd 1. Samuel Beckett: The Search for the Self 2. Arthur Adamov: The Curable and the Incurable 3. Eugene Ionesco: Theatre and Anti-Theatre 4. Jean Genet: A Hall of Mirrors 5. Harold Pinter: Certainties and Uncertainties 6. Parallels and Proselytes 7. The Tradition of the Absurd 8. The Significance of the Absurd 9. Beyond the Absurd Bibliography 1: The Dramatists of the Absurd Bibliography 2: Background and History of the Theatre of the Absurd Index

Martin Esslin OBE (1918-2002) was a prolific dramatist, producer and translator, as well as being one of the most perceptive theatre critics of the 20th century.

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