ABSTRACT
The Theatre of the Absurd is a term coined by the critic Martin Esslin for the work of a number of playwrights, mostly written in the 1950s and 1960s.The “absurd” plays by Samuel Beckett, Arthur Adamov, Eugene Ionesco, Jean Genet, Harold Pinter and others all share the view that man is inhabiting a universe with which he is out of key. Its feature can be made a conlusion that if we say a good play should have skillfully constructed plots, the Theatre of the Absurd radically is far from the plot or the structure; if we say to weight a good paly depends on the accurate characterization and motivation, it often wants of identifable role and peoples with puppet of mechanical movements; if we say a good play provide with pellucid and integrated theme which unfolds and fully closes, it often is possessed of no start and end; if we say a good play , as a mirror, reflects human nature and carve the customs and peculiarity of time by virtue of precise drawing, it often is a mirror of hallucinationg and nightmare; if we say a good play is brimming with wit asking and answering and forceful dialogues, it often is seized of none but incoherence somniloquence. The Teatre of the Absurd can be also called “anti-theatre” or “anti-tradition”. As a absurd dramatist, Samuel Bec
kett brought in an existentialist and absurdist element, and usher in the era of the Theatre of the Absurd in recent literary history. His famous work Waiting for Godot become a charming absurd play by means anti-plot, anti-character, anti-language, anti-time, anti-scene and anti-tragicomic,in that it is a perfect unity of comic manifestaion of tragic theme.
Key words: the Theatre of the Absurd, feature, anti-theatre, Waiting for Godot
摘要
荒诞派戏剧这一术语是由马丁·埃斯林为一在十九世纪五六十年代写作的剧作家创造的。这些剧作家包括塞缪尔·贝克特，阿瑟·阿达莫夫，尤金·尤涅斯库，让·热内，哈罗德·品特还有一些对世界有同样观点的剧作家。而荒诞派戏剧的特点可以总结为：假如说一部好戏应该具备构思巧妙的情节，这类戏则根本谈不上情节或结构；假如说，衡量一部好戏凭的是精确的人物刻画和动机，这类戏测常常缺乏能够使人辨别的角，奉献给观众的几乎是动作机械的木偶；假如说，一部好戏要具备清晰完整的主题，在剧中巧妙地展开并完善地结束，这类戏既没有头没有尾；假如说，一部好戏要作为一面镜子照出人的本性，要通过精确的素描去刻画时代的风俗和怪癖，这类戏则往往使人感到的是幻想和梦魇的放射；假如说，一部好戏靠
得是机智的应答和犀利的对话，这类戏则往往只有语无伦次的梦呓。荒诞派戏剧又称为“反戏剧”或“反传统”。塞缪尔·贝克特作为一位荒诞派剧作家，他通过引进存在主义和荒诞主义元素开启了近代文学史上荒诞派戏剧的时代。他著名的戏剧《等待戈多》因其通过反情节，反人物，反语言，反时间，反背景，以及反悲喜剧形成喜剧表现形式和悲剧主题的完美统一，成为一部魅力十足的荒诞派戏剧。
关键词：荒诞派戏剧，特点，反戏剧，《等待戈多》
A brief analysis on feature of the Theatre of the Absurd
. Introduction of the Theatre of the Absurd
The Theatre of the Absurd is a term coined by the critic Martin Esslin for the work of a number of playwrights, mostly written in the 1950s and 1960s. The term is derived from an essay by the French philosopher Albert Camus. In his Myth of Sisyphus, written in 1942, he first defined the human situation as basically meaningless and absurd. The “absurd” plays by Samuel Beckett, Arthur Adamov, Eugene Ionesco, Jean Genet, Harold Pinter and others
all share the view that man is inhabiting a universe with which he is out of key. Its meaning is indecipherable and his place within it is without purpose. He is bewildered, troubled and obscurely threatened.
1.1 What is the Theatre of the Absurd
The Theatre of the Absurd is a form of drama that emphasizes the absurdity of huaman esistence by employing disjointed , repetitious, repetitious, and meaningless dialogue, purposeless and confusing situations, and plots that lack realistic or logical development. Plays that stress the illogical or irrational aspects of experience, usually to show the pointlessness of modern life. It explores  the absurd nature of the huaman condition. The world that the Theatre of the Absurd tries to delineate seems to be one in which God no longer smiles upon the huamnkind, and man is thrown back upon himself for survival. As a result, modern people feels an acute sense of futility and meaninglessness, and sees on light at the end of the tunnel. This was the basic factor that helped decide the tragic theme of the Theatre of the Absurd. However, the absurd dramatists chose to present the sorry pli
ght of man in a humorous vein, in the form of black comedy, so that people watch and laugh, then feel the pain, and achieve a heightened awareness of the nature of their lives. Such plays are therefore often tragic-comedies.
1.2 The origin of the Theatre of the Absurd
  The term “the Theatre of the Absurd’ is coined by Englishi critic Martin Esslin, who made same title of book on the subject first pubished in 1962. It refers to the work of a loosely associated group of dramatists who first emerged during and after World War. These playwrights gave a artistic expression to French Albert Camus’ existential philosophy, as illuminated in his essay The Myth of Sisyphus, that life is internally meaningless. . In The Theatre of the Absurd, Esslin states, “The Theatre of the Absurd has renounced arguing about the absurdity of the human condition; it merely presents it in being—that is, in terms of concrete stage images. This is the difference between the approach of the philosopher and that of the poet.” He goes on to say that “The hallmark of this attitude is its sense that the certitudes and unshakable basic assumptions of former ages have been swept away, that they have been tested and found wanting, that they have been discredited as cheap and somewhat childish illusions.”
1.3 Representive figure of the Theatre of the Absurd
The “Absurd” or “New Theater” movement was originally a Paris-based (and a Rive Gauch
e) avant-garde phenomenon tied to extremely small theaters in the Quartier Latin. Some of the Absurdists were born in France such as Jean Genet（The Maid, The Balcony, The blacks）, Jean Tardieu (! The Client Dies Twice)  and Boris Vian. Many other Absurdists were born elsewhere but lived in France, writing often in French: Samuel Beckett（Waiting for Godot, Endgme,Krapp’s Last Tape, Happy Days） from Ireland; Eugène Ionesco(The Bald Soprano,The lesson, The Chairs, Rhinoceros) from Romania; Arthur Adamov from Russia; and Fernando Arrabal(Picnic on the Battlefield) from Spain. As the influence of the Absurdists grew, the style spread to other countries–with playwrights either directly influenced by Absurdists in Paris or playwrights labeled Absurdist by critics. In England some of whom Esslin considered practitioners of "the Theatre of the Absurd" include: Harold Pinter(The Room, The Homecoming), Tom Stoppard(Rosencrantz & Guildensterm Are Dead), N. F. Simpson, James Saunders, and David Campton; in the United States, Edward Albee(The Zoo Story, Who’s Afraid of Virginia Woolf?), Sam Shepard, Jack Gelber, and John Guare; in Poland, Tadeusz Różewicz, man in the mirror 歌词Sławomir Mrożek, and Tadeusz Kantor; in Italy, Dino Buzzati; and in Germany, Peter Weiss(Marat/Sade), Wolf
gang Hildesheimer, and Günter Grass. In India, both Mohit Chattopadhyay and Mahesh Elkunchwar have also been labeled Absurdists. Other international Absurdist playwrights include: Tawfiq el-Hakim from Egypt; Hanoch Levin from Israel; Miguel Mihura from Spain; José de Almada Negreiros from Portugal; Mikhail Volokhov from Russia; Yordan Radichkov from Bulgaria; and playwright and former Czech President Václav Havel, and others from the Czech Republic and Slovakia