Theatre Of The Absurd And The Homecoming English Literature Essay

field of view Of The soaked And The Homecoming English Literature EssayFirstly, to substantially serve the question above, it is indeed imperative to present a definition of awry(p)ist home by which to draw comparisons from, to successfully evaluate Harold Pinters The Homecoming as a representative example.It should ab initio be brought to the attention of the reader that absurdist theatre in effect does not present a typical definition or strict rules or guidelines from which to con miscellanea, for example, a piece of romp script to. as yet, on that point is an interpretation that has been most famously noted by Martin Esslin in his theatre of operations of the Absurd, from which he puts this term into some context of understanding, regularized from the French philosopher Albert Camus, in his fabrication of Sisyphus, written in 1942. (Culik 2000). For example, Esslin in his bailiwick of the Absurd comments on the commit of the word Absurd describing its original gist as out of accord in a musical context. (Worthen 2004 p 907 -10) However, he hones in on Camus use of the word, which is employ in the understanding of absurdist theatre that has a all in all different notion behind it. For example, Ionesco defines this notion as, Absurd is that which is devoid of manipulation Cut off from his spectral, metaphysical, and transcendental roots, man is lost all his practiceions survive senseless, absurd, useless. (Worthen 2004 p 907 -10) Thus, the most central theme to Absurdist Theatre is awareness of this drop of purpose in all we do and how this produces a state of metaphysical anguish. (Ray 2005)Further more(prenominal), according to the Oxford English Dictionary, the Theatre of the Absurd the term essentially coined by Martin Esslin in his critical work, as mentioned above defines the understanding that The Theatre of the Absurd strives to express its sense of senselessness of the human correct and the inadequacy of the sharp approach by the open abandonment of keen devices and discursive thought. (OED 2010) Esslin continues to comment, in his study of Theatre of the Absurd, on the disorientating quality of the laughers (Worthen 2004 p 907 -10) that are usually grouped into the genre of absurd, and how so many established critics arrive at condemned the absurdist plays for their lack of plot, development, characterisation, skepticism or plain common sense. (Worthen 2004 p 907 -10) Specifically Esslin uses Samuel Becketts Waiting for Godot as an example to demonstrate that those in society that are unsophisticated overflowing t o come to the theatre without any preconceived notions and ready-to-eat expectations (Worthen 2004 p 907 -10) about a performance were thus able to run across past the nonsense or mystification (Worthen 2004 p 907 -10) of these types of plays and find meaning and understanding in them, rather than their chinkmingly impertinent and outrageous craft (Worthen 2004 p 907 -10).In terms of lyric poem, the Theatre of the Absurd, tends towards a radical devaluation of wording (Worthen 2004 p 907 -10), in former(a) words reducing the value of expression that logically, plays are so heavily reliant on. However, this is not to say that language is completely disregarded, because in fact it is not, its function is more poignantly used to contradict the action of the character voicing the lines.In terms of its historic context, Theatre of the Absurd has emanated from the avant-garde movements in art from the period of the twenties 30s, originating from Paris. Yet, probably more central to its rise was the traumatic horror experienced from World War II. Furthermore, around this time the beginning of the loss of religious signifi supportce and dependence in peoples lives highlighted the opposite of purpose and meaning to life, on board the resonating realisation of the uncertainty of life. As a consequence the Theatre of the Absurd aimed to present an anti- theatre, to ref lect as the world was beginning to schism apart, with its morals, conventions and values, so too must theatre evolve out of its traditionalism and become surreal, illogical, conflictless and plotless. (Culik 2000).On first appearances Pinters The Homecoming, seems to fit the theory of the Theatre of the Absurd. It initially presents the reader with an absurd setting, whereby the back wall has been removed. The power point action is pose against the ridiculous language that seems to be discursive the character exclusive, seems to pass aimlessly between subject after subject. It almost satirises how language is the key to communication. However, the converse seems ridiculous with the stage action contradicting the words that are said by the characters. For example, Max says to Lenny Dont you talk to me like that. Im warning you (Worthen 2004 p. 764) the understanding of the language imp pillows Max aggressive attitude and embodiment, yet the stage action suggest a complete juxta position (He sits in large arm chair) (Worthen 2004 p. 764).Furthermore, the absurd converse exchanged by the principle protagonist Max seems to be noble and the ability to comprehend impossible, thus adhering to the illogical sense instilled in absurdist language. He talks about his wife in a negative and tyrannical tone, it made me sick just to look at her rotten ill-smelling face, she wasnt such a bad bitch. (Worthen 2004 p.764) Lennys reaction seems to be completely thoughtless to his fathers statement about his mother. Instead of the words he hears, its as if he hears irritating noise being expelled from Maxs mouth and wants him to be quiet. To add to the fatuity of the two characters we are presented with Max talks about himself in a manner that is bizarre, your lousy filthy father (Worthen 2004 p.764). The expression of this senselessness and insistent discursive thin out throughout the whole play creates an incomprehensible psychotic belief that understandably baffle s its audiences and readers.More so, in terms of language, the play adheres to the illogical trend absurdist theatre expresses, through the re first appearance of the characters mooring and Ruth. They are married, yet Teddy is not fazed in the slightest as his brothers start to have inner relations with his wife. For example, Lenny says to Joey in front of Teddy, You didnt get all the way and youve had her up there for two hours (Worthen 2004 p782). This ludicrous behaviour stimulates an even more flummox realisation for readers and audiences, as they begin to understand the senselessness of the human condition that Absurdist theatre seeks to express. Furthermore, the incomprehensible expression of language strengthens even more so towards the end of the play. This is where we see the family, excluding Teddy gravitate towards Teddys wife Ruth, wanting her to stick to in the household. Their objective for her is to turn her into a whore. This may be an act to replace the previou s matriarch of the family, Jessie, who was both a mother and a whore. Teddys distinct separation from the meaning of the dialogue depicts the open abandonment of rational devices, as he decides that it is okay to leave his wife there.However, in reverse to the statement above, it is easy to see that Pinters The homecoming does reflect the trends of Absurdist theatre, yet something more new and exciting is emerging that does not just restrict itself to this year/genre. For example, throughout the play we can see the heavy mix of influence from the realist and absurdist genres that dominate the majority of the play. This juxtaposition reflected in the setting, exposes nerve by side everyday domesticity with a subtle undercurrent of animalistic violence (Gin 2008).Francis Grin, in his book Pinters Stage, A New Genre argues that if you read Pinters play without the already existent framework (Gin 2008) of realist and absurdist theatre, then you will discover the text for what it gen uinely is, an entirely new kind of dramaturgy (Gin 2008). Gin continues to argue that Pinters play needs to be looked through an independent framework (Gin 2008)to discover the unequalled Pinteresque style of theatre e (Gin 2008).In addition Gins extraordinary incursion into this genre, and more specifically Pinters The Homecoming, allows a more comprehensive understanding to be gained from the seemingly incomprehensible read. For example, Gin clearly sees that Pinter creates a rhythm and stride (Gin 2008) which mimics the strange patterns of real life dialogue, entirely allowing the terrorto hit home as the spectator fills the Pinteresque pause with their own subjective imagination. (Gin 2008). It is true that the play is confused with what seems to be a burdenful amount of pauses. This in itself does not constitute the play being placed into an absurdist category, but more so into Pinters very own category. As (Bradshaw 2004) states, The characters speech, hesitations, and pauses reveal not only their own alienation and the difficulties they have in communicating but also the many layers of meaning that can be contained in even the most innocuous statements. (Bradshaw 2004)Theatre dilettante Molly Flatt, also has an inspiring perspective on Pinters play that suggests there is much more to the play than just containing it to two genres of theatre form (absurdist/realist). She describes it as a dark, funny and recognizable portrait of 1970s maleness (Flatt 2008) until another character Teddy the prodigal son (Flatt 2008) returns with his wife Ruth, whom disrupts the stage action from awkward to disconcertingly bizarre. (Flatt 2008) Indeed this is reflective of the theatre of the absurd with its naturalistic setting and dialogue (Flatt 2008) infused with the undercurrent of dim, bleak domestic horror (Flatt 2008). However its surrealism allows us to capture what is great and wacky and wrong and sincere that we understand what is human. (Flatt 2008) As P inter himself states that there are many truths that seek to challenge, recoil, reflect, ignore, tease each other and so on (Flatt 2008) yet we never truly hold truth in our hands for more than a moment. (Flatt 2008)In conclusion I suppose that it is clear Pinter is heavily influenced by the avant-garde and absurdist movements, yet his brilliance in making such weird and wonderful plays does not just lie in these genres, but in something that he has truly made unique and as Gin comments completely created an entirely new dramaturgy. Yes it is clear to see the influences of surrealism, realism and absurdist theatre in his work, especially in The Homecoming, but to what terminus it is a representative example of Absurdist Theatre, would be to oversimplify Pinters work. Therefore, after canvas the text it would be indecent not to acknowledge the influence of absurdist theatre, but also not to acknowledge Pinters the homecoming is ambivalent in its plot, presentation of characterbut are also works of undeniable power and originality. (Bradshaw 2004).