THE ABSURD CHARACTER IN SAMUEL BECKETT’S THEATRE PLAYS
THE ABSURD CHARACTER IN SAMUEL BECKETT’S THEATRE PLAYS

Summary/Abstract: Over time, the absurd theatre surprised the theoretical thinking and became the researchers’ major subject of modern and post-modern literature. It can be said that the idea of absurd thinking preceded its literary representation; but the concept first existed as a genuine experience of the absurd, as an intuition or as a true sense of absurdity, then as a genuine theoretical attitude towards the world, life, freedom or death. Undoubtedly, there is no absurd unitary literary movement that can be recognized in literature because of its common features. None of the writers adhere to a common view of the world. However, artistic consciousness can refuse to recognize an aesthetic category, which, ultimately, from the perspective of literary critique can become with time, a defining one for the literary production of that age. Thus, although one can not speak of a literary movement, there is still a significant aesthetic structure, specific to the absurd theatre and literature in Beckett’s theatre plays. In our article, we try to decipher to what extent Beckett’s works show the symptoms of the world’s existential crisis. The phenomenon of this crisis - social, existential, language or communication - is manifested at all levels. It appears as a disorder, a destruction of an existing order, and at the same time as a condemnation of this order in which Beckett combined nostalgic humor with a devastating sense of pain and defeat.

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