Skip to main content Accessibility help
×
  • Cited by 14
Publisher:
Cambridge University Press
Online publication date:
November 2015
Print publication year:
2015
Online ISBN:
9781107284265

Book description

Michael Y. Bennett's accessible Introduction explains the complex, multidimensional nature of the works and writers associated with the absurd - a label placed upon a number of writers who revolted against traditional theatre and literature in both similar and widely different ways. Setting the movement in its historical, intellectual and cultural contexts, Bennett provides an in-depth overview of absurdism and its key figures in theatre and literature, from Samuel Beckett and Harold Pinter to Tom Stoppard. Chapters reveal the movement's origins, development and present-day influence upon popular culture around the world, employing the latest research to this often challenging area of study in a balanced and authoritative approach. Essential reading for students of literature and theatre, this book provides the necessary tools to interpret and develop the study of a movement associated with some of the twentieth century's greatest and most influential cultural figures.

Reviews

'In his latest book Michael Bennett sets out to provide a scholarly but reader-friendly appraisal of the literary and dramatic manifestations of the absurd. … this book manages to be both an accessible introduction to readers unfamiliar with the absurd and a thought-provoking addition to absurd criticism.'

Pedro Querido Source: Modern Language Review

Refine List

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
×

Contents

Further reading
Bennett, Michael Y.Reassessing the Theatre of the Absurd: Camus, Beckett, Ionesco, Genet, and Pinter. New York: Palgrave Macmillan, 2011.
Brater, Enoch and Cohn, Ruby, eds. Around the Absurd: Essays on Modern and Postmodern Drama. Ann Arbor: The University of Michigan Press, 1990.
Cornwell, Neil. The Absurd in Literature. Manchester University Press, 2006.
Demastes, William W.Theatre of Chaos: Beyond Absurdism, Into Orderly Disorder. Cambridge University Press, 1998.
Esslin, Martin, ed. Absurd Drama. Middlesex: Penguin Books, 1965.
Esslin, Martin. The Theatre of the Absurd. New York: Anchor Books, 1961 [2nd edn. 1969; 3rd edn. 2004].
Gaensbauer, Deborah B.The French Theater of the Absurd. Boston: Twayne Publishers, 1991.
Gavins, Joanna.Reading the Absurd. Edinburgh: Edinburgh University Press, 2013.
Hinchcliffe, Arnold P.The Absurd. London: Methuen & Co Ltd, 1969.
Mayberry, Bob. Theatre of Discord: Dissonance in Beckett, Albee, and Pinter. Rutherford: Fairleigh Dickinson University Press, 1989.
Pronko, Leonard Cabell. Avant-Garde: The Experimental Theater in France. Berkeley: University of California Press, 1966.
Styan, J. L.The Dark Comedy: The Development of Modern Comic Tragedy. 2nd edn. Cambridge University Press, 1968.
Wellwarth, George. The Theater of Protest and Paradox: Developments in the Avant-Guarde Drama. Revised edn. New York University Press, 1971.
Albee, Edward. The Collected Plays of Edward Albee: 1958–1965. New York: Overlook Duckworth, 2007.
Albee, EdwardThe Collected Plays of Edward Albee: 1966–1977. New York: Overlook Duckworth, 2008.
Albee, EdwardThe Collected Plays of Edward Albee: 1978–2003. New York: Overlook Duckworth, 2008.
Albee, EdwardStretching My Mind. New York: Carroll & Graf Publishers, 2005.
Albee, Edward “Which Theatre is the Absurd One?” The New York Times. 25 February 1962: SM11.
Bottoms, Stephen, ed. The Cambridge Companion to Edward Albee. Cambridge University Press, 2005.
Gussow, Mel. Edward Albee: A Singular Journey: A Biography. New York: Simon & Schuster, 1999.
Kolin, Philip C., ed. Conversations with Edward Albee. Jackson: University Press of Mississippi, 1988.
Mann, Bruce J., ed. Edward Albee: A Casebook. New York: Routledge, 2003.
Paolucci, Anne. From Tension to Tonic: The Plays of Edward Albee. Carbondale: Southern Illinois University Press, 1972.
Beckett, Samuel. Collected Shorter Plays. New York: Grove Press, 1984.
Beckett, SamuelDisjecta: Miscellaneous Writings and a Dramatic Fragment. Ed. Cohn, Ruby. New York: Grove Press, 1984.
Beckett, Samuel. Endgame. New York: Grove Press, 1956.
Beckett, Samuel. Happy Days. New York: Grove Press, 1961.
Beckett, SamuelMurphy. New York: Grove Press, 1957.
Beckett, SamuelThree Novels: Molloy, Malone Dies, The Unnamable. New York: Grove Press, 1958.
Beckett, SamuelWaiting for Godot. New York: Grove Press, 1954.
Beckett, SamuelWatt. New York: Grove Press, 1953.
Ben-Zvi, Linda. Samuel Beckett. Boston: Twayne, 1986.
Ben-Zvi, LindaBeckett at 100: Revolving It All, eds. Ben-Zvi, Linda and Moorjani, Angela. Oxford University Press, 2008.
Brater, Enoch. Beyond Minimalism: Beckett's Late Style in the Theatre. New York: Oxford University Press, 1987.
Brater, EnochThe Drama in the Text: Beckett's Late Fiction. New York: Oxford University Press, 1994.
Brater, EnochWhy Beckett. London: Thames and Hudson, 1989.
Bryden, Mary. Samuel Beckett and the Idea of God. Basingstoke: Macmillan, 1998.
Cohen, Ruby. A Beckett Canon. Ann Arbor: University of Michigan Press, 2001.
Cohen, Ruby ed. Beckett, Samuel: Waiting for Godot: A Casebook. Houndmills: Macmillan, 1987.
Gontarski, S. E.The Intent of Undoing Samuel Beckett's Dramatic Texts. Bloomington: Indiana University Press, 1985.
Kern, Edith. “Drama Stripped for Inaction: Beckett's Godot.” Yale French Studies 14 (1954): pp. 56–62.
Knowlson, James. Damned to Fame: The Life of Samuel Beckett. London: Bloomsbury, 1996.
Le Juez, Brigette. Beckett Before Beckett. Trans. Schwartz, Ros. London: Souvenir Press, 2008.
McDonald, Rónán. The Cambridge Introduction to Samuel Beckett. Cambridge University Press, 2006.
Oppenheim, Lois, ed. Palgrave Advances in Samuel Beckett Studies. New York: Palgrave Macmillan, 2004.
Pilling, John, ed. The Cambridge Companion to Beckett. Cambridge University Press, 1994.
Uhlmann, A.Beckett and Poststructuralism. Cambridge University Press, 1999.
Camus, Albert. The Fall. Trans. O'Brien, Justin. New York: Vintage International, 1984.
Camus, AlbertThe Myth of Sisyphus: and Other Essays. Trans. O'Brian, Justin. New York: Vintage Books, 1955.
Camus, AlbertThe Plague. Trans. Gilbert, Stuart. New York: Vintage Books, 1972.
Camus, AlbertThe Rebel: An Essay on Man in Revolt. Trans. Bower, Anthony. New York: Vintage Books, 1956.
Blanchard, Marc. “Before Ethics: Camus's Pudeur.” MLN 112.4 (1997): 666–82.
Brée, Germaine. Camus and Sartre: Crisis and Commitment. New York: Delacorte Press, 1972.
Carroll, David. “Rethinking the Absurd: Le Mythe de Sisyphe.” The Cambridge Companion to Camus. Ed. Hughes, Edward J.. Cambridge University Press, 2007, pp. 53–66.
Fotiade, Ramona. Conceptions of the Absurd: From Surrealism to the Existential Thought of Chestov and Fondane. Oxford: Legenda, 2001.
Hughes, Edward J., ed. The Cambridge Companion to Camus. Cambridge University Press, 2007.
Peter, Royle. The Satre-Camus Controversy: A Literary and Philosophical Critique. University of Ottawa Press, 1982.
Pollmann, Leo. Sartre and Camus: Literature of Existence, trans. Helen, and Sebba, Gregor. New York: Frederik Ungar Publishing Co., 1970.
Robinson, James E.Sisyphus Happy: Beckett Beyond the Absurd.” Samuel Beckett Today/aujourd'hui 6 (1997): 343–52.
Sagi, Avi. Albert Camus and the Philosophy of the Absurd. Amsterdam: Rodopi, 2002.
Vanborre, Emmanuelle Anne, ed., The Originality and Complexity of Albert Camus's Writings. New York: Palgrave Macmillan, 2012.
Zucker, Richard. “The Happiness of Sisyphus.” Kinesis (1987): 41–65.
Genet, Jean. The Balcony. Trans. Frechtman, Bernard. New York: Grove Press, 1966.
Genet, JeanThe Blacks: A Clown Show. Trans. Frechtman, Bernard. New York: Grove Press, Inc., 1960.
Genet, JeanThe Maids and Deathwatch: Two Plays. Trans. Frechtman, Bernard. New York: Grove Press, Inc., 1961.
Genet, Jean. Our Lady of the Flowers. Trans. Frechtman, Bernard. Toronto: Bantam Books, 1964.
Genet, Jean. The Screens. Trans. Frechtman, Bernard. New York: Grove Press, 1962.
Genet, Jean. The Thief's Journal. Trans. Frechtman, Bernard. Middlesex: Penguin Books, 1967.
Coe, Richard N.The Vision of Genet. New York: Grove Press, 1968.
Driver, Tom Faw. Jean Genet. New York: Columbia University Press, 1966.
Knapp, Bettina Liebowitz. Jean Genet. New York: Tw ayne, 1968.
McMahon, Joseph H.The Imagination of Jean Genet. New Haven: Yale University Press, 1963.
Oswald, Laura. Jean Genet and the Semiotics of Performance. Bloomington: Indiana University Press, 1989.
Savona, Jeannette L.Jean Genet. New York: Grove Press, 1983.
Styan, J. L.Symbolism, Surrealism and the Absurd. Vol. 2 of Modern Drama in Theory and Practice. Cambridge University Press, 1981.
Ionesco, Eugene. “Dans les armes de la ville.” Cahiers de la Companie Madeleine Renaud-Jean-Louis Barrault 20 (October 1957): 2–5.
Ionesco, EugeneIonesco and the Critics: Eugene Ionesco Interviewed by Gabriel Jacobs.” Critical Inquiry 1.3 (March 1975): 641–67.
Ionesco, EugeneNotes and Counter Notes. Trans. Watson, Donald. New York: Grove Press, 1964.
Ionesco, EugeneNotes on My Theatre.” Trans. Pronko, Leonard C.. The Tulane Drama Review 7.3 (Spring 1963): 126–59.
Ionesco, EugeneRhinoceros and Other Plays. Trans. Prouse, Derek. New York: Grove Press, Inc., 1960.
Ionesco, EugeneA Stroll in the Air, Frenzy for Two, Or More. Trans. Watson, Donald. New York: Grove Press, 1965.
Ionesco, EugeneThree Plays: Amédée, The New Tenant, Victims of Duty. Trans. Watson, Donald. New York: Grove Press, 1958.
Ionesco, EugeneThree Plays: Exit the King, The Killer, and Macbett. Trans. Marowitz, Charles and Watson, Donald. New York: Grove Press, 1985.
Ionesco, EugeneTheaters of the Absurd.” Partisan Review 56.1 (1989): 45–9.
Ionesco, EugeneThe Avant-Garde Theatre.” The Tulane Drama Review 5.2 (December 1960): 44–53.
Ionesco, EugeneFour Plays: The Bald Soprano, The Lesson, Jack, or The Submission, The Chairs. Trans. Allen, Donald M.. New York: Grove, 1958.
Ionesco, Eugene. “The World of Ionesco.” The Tulane Drama Review 3.1 (October 1958): 46–8.
Gaensbauer, Deborah B.Eugene Ionesco Revisited. New York: Twayne Publishers, 1996.
Hayman, Ronald. World Dramatists: Eugene Ionesco. New York: Frederick Unger, 1976.
Lewis, Allan. Ionesco. New York: Twayne Publishers, Inc., 1972.
Pinter, Harold. Complete Works: One. New York: Grove Press, 1976.
Pinter, Harold. Complete Works: Two. New York: Grove Press, 1977.
Pinter, Harold. Complete Works: Three. New York: Grove Press, 1978.
Pinter, Harold. Complete Works: Four. New York: Grove Press, 1981.
Pinter, Harold. The Dwarfs. New York: Grove Press, 1990.
Pinter, Harold. “Letter to Peter Wood,” The Kenyon Review 3.3 (Summer 1981): 1–5.
Billington, Michael. The Life and Work of Harold Pinter. London: Faber and Faber, 1996.
Ford, Anna. Pinter, Plays & Politics. BBC Television Interview. 1988.
Gale, Steven H.Butter's Going Up: A Critical Analysis of Harold Pinter's Work. Durham: Duke University Press.
Raby, Peter, ed. The Cambridge Companion to Harold Pinter, 2nd edn. Cambridge University Press, 2009.
Adamov, Arthur. Paolo Paoli. Trans. Brereton, Geoffrey. London: John Calder, 1959.
Adamov, Arthur. Ping Pong: Two Plays by Arthur Adamov. Trans. Prouse, Derek and Meyer, Peter. London: John Calder, 1962.
Arrabal, Fernando. Guernica and Other Plays. New York: Grove Press, 1974.
Artaud, Antonin, Collected Works: Volume One. Trans. Corti, Victor. London: John Calder, 1968.
Artaud, Antonin. Collected Works: Volume Two. Trans. Corti, Victor. London: John Calder, 1971.
Artaud, Antonin. Collected Works: Volume Three. Trans. Hamilton, Alastair. London: Calder & Boyars, 1972.
Artaud, Antonin. The Theater and Its Double. Trans. Richards, Mary Caroline. New York: Grove Press, 1958.
Dürrenmatt, Friedrich. The Physicists. Trans. Kirkup, James. New York: Grove Press, 1964.
Dürrenmatt, Friedrich. The Visit: A Tragi-Comedy. Trans. Bowles, Patrick. New York: Grove Press, 1962.
Gelber, Jack. The Apple. New York: Grove Press, 1960.
Gelber, Jack. The Connection. New York: Grove Press, 1960.
Havel, Václav. The Garden Party and Other Plays. New York: Grove Press, 1993.
Jannarone, Kimberly, Artaud and His Doubles. Ann Arbor: University of Michigan Press, 2010.
Jarry, Alfred. Ubu Roi. Trans. Keith, Beverly and Legman, G.. Mineola: Dover Publications, Inc., 2003.
Kafka, Franz. Metamorphosis and Other Stories.
Kafka, Franz. The Trial.
Kennedy, Adrienne. In One Act. Minneapolis: University of Minnesota Press, 1988.
Kopit, Arthur. Indians. New York: The Noonday Press, 1969.
Kopit, Arthur. Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin’ So Sad. New York: Pocket Books, 1966.
Mrozek, Slawomir. Six Plays. Trans. Bethell, Nicholas. New York: Grove Press, 1967.
Ostashevsky, Eugene, ed. OBERIU: An Anthology of Russian Absurdism. Evanston: Northwestern University Press, 2006.
Rozewicz, Tadeusz. The Card Index and Other Plays. Trans. Czerniawski, Adam. New York: Grove Press, 1969.
Rozewicz, Tadeusz. Reading the Apocalypse in Bed: Selected Plays and Short Pieces. Trans. Czerniawski, Adam, Plebanek, Barbara, and Howard, Tony. London: Marion Boyars, 1998.
Simpson, N. F.One Way Pendulum: A Farce in a New Dimension. New York: Grove Press, 1960.
Adler, Thomas P.Public Faces, Private Graces: Apocalypse Postponed in Arthur Kopit's End of the World.” Studies in the Literary Imagination 21.2 (1998): 107–18.
Barker, Roberta. “The Circle Game: Gender, Time, and ‘Revolution’ in Tom Stoppard's The Coast of Utopia.” Modern Drama 48.4 (2005): 706–25.
Barnett, Claudia. “‘An Evasion of Ontology’: Being Adrienne Kennedy.” The Drama Review: A Journal of Performance Studies 49.3 (2005): 157–86.
Bennett, Michael Y.Away from the Absurd?: The Critical Response to Beckett at 100Kritikon Litterarum 36.3/4 (December 2009): 230–8.
Bennett, Michael Y.. “The Cartesian Beckett: The Mind-Body Split in Murphy and Happy Days.” ANQ: A Quarterly Journal of Short Articles, Notes, and Reviews 25.2 (May 2012): 118–22.
Bennett, Michael Y.. “Dominance and the Triumph of the White Trickster Over the Black Picaro in Amiri Baraka's Great Goodness of Life: A Coon Show.” Callaloo 36.2 (Spring 2013)
Bennett, Michael Y.. “‘The Essential Doesn't Change’: Essence Precedes Experience and Cartesian Rationalism in Samuel Beckett's Waiting for Godot.” Notes on Contemporary Literature 42.1 (January 2012): 5–7.
Bennett, Michael Y.. “Performance Review of Long Day's Journey into Night, by Eugene O'Neill,” Eugene O'Neill Review 34.2 (2013): 273–5.
Bennett, Michael Y.. “Sartre's ‘The Wall’ and Beckett's Waiting for Godot: Existential and Non-Existential Nothingness.” Notes on Contemporary Literature 39.5 (November 2009): 2–3.
Bennett, Michael Y.. Words, Space, and the Audience: The Theatrical Tension between Empiricism and Rationalism. New York: Palgrave Macmillan, 2012.
Ben-Zvi, Linda and Moorjani, Angela, eds. Beckett at 100: Revolving it All. Oxford University Press, 2008.
Bhatia, Nandi. “Reinventing India through ‘A Quite Witty Pastiche’: Reading Tom Stoppard's Indian Ink.” Modern Drama 52.2 (2009): 220–37.
Brayshaw, Richard and Burgoyne Dieckman, Suzanne. “Wings, Watchers, and Windows: Imprisonment in the Plays of Arthur Kopit.” Theatre Journal 35.2 (1983): 195–211.
Camus, Albert. Le mythe de Sisyphe: Essai sur L'Absurde. Gallimard, 1942.
Carlson, Marvin. Theories of the Theatre: A Historical and Critical Survey, from the Greeks to the Present. Ithaca: Cornell University Press, 1984.
Carroll, David. “Rethinking the Absurd: Le Mythe de Sisyphe.” The Cambridge Companion to Camus. Ed. Hughes, Edward J.. Cambridge University Press, 2007, pp. 53–66.
Chung, Moonyoung. “Stage as Hyperspace: Theatricality of Stoppard.” Modern Drama 48.4 (2005): 689–705.
Czerwinski, Edward J.Tadeusz Rozewicz and the Jester-Priest Metaphor.” The Slavic and East European Journal 13.2 (1969): 217–28.
Demastes, William W.Beyond Naturalism: A New Realism in American Theatre. New York: Greenwood Press, 1988.
Demastes, William W.. “Portrait of an Artist as Proto-Chaotician: Tom Stoppard Working His Way to Arcadia.” Narrative 19.2 (2011): 229–40.
Dietemann, Margaret. “Departure from the Absurd: Adamov's Last Plays.” Yale French Studies 46 (1971): 48–59.
Diller, Edward. “Aesthetics and the Grotesque: Friedrich Durrenmatt.” Wisconsin Studies in Contemporary Literature 7.3 (1966): 328–35.
Diller, Edward. “Friedrich Durrenmatt's Theological Concept of History.” The German Quarterly 40.3 (1967): 363–71.
Donahue, Francis. “Arrabal: Organic Playwright.” Midwest Quarterly: A Journal of Contemporary Thought 25 (1984): 187–200.
Doxtader, Erik W.Characters in the Middle of Public Life: Consensus, Dissent, and Ethos.” Philosophy and Rhetoric 33.4 (2000): 336–69.
Engler, Bernd. “Antidrama–Metadrama–Artistic Program? Arthur Kopit's The Hero in Context.” Connotations: A Journal for Critical Debate 3.3 (1994): 279–90.
Esslin, Martin, ed. Absurd Drama. Middlesex: Penguin, 1965.
Esslin, Martin. “Beckett and the Quest for Meaning,” Samuel Beckett Today 11 (2001): 27–30.
Esslin, Martin. “Beckett and the ‘Theater of the Absurd.’” Approaches to Teaching in Beckett's Waiting for Godot. Schlueter, June and Brater, Enoch, eds. New York : Modern Language Association of America, 1991, pp. 42–7.
Esslin, Martin. “Mrozek, Beckett, and the Theatre of the Absurd.” New Theatre Quarterly 10.40 (1994): 377–81.
Esslin, Martin. “The Theatre of the Absurd.” The Tulane Drama Review 4.4 (May 1960): 3–15.
Esslin, Martin. “What Beckett Teaches Me: His Minimalist Approach to Ethics,” Samuel Beckett Today 2 (1993): 13–20.
Filipowicz, Halina. “Tadeusz Rozewicz's Postmodern Trilogy.” The Polish Review 36.1 (1991): 83–102.
Filipowicz, Halina. “Theatrical Reality in the Plays of Tadeusz Rozewicz.” The Slavic and East European Journal 26.4 (1982): 447–59.
Fischler, Alexander. “The Absurd Professor in the Theater of the Absurd.” Modern Drama 21 (1978): 137–52.
Fothergill, C. Z.Echoes of a Resounding Tinkle: N.F. Simpson Reconsidered.” Modern Drama 16.3–4 (1973): 299–306.
Gerould, Daniel C.Tadeusz Rozewicz: Playwriting as Collage.” Performing Arts Journal 1.2 (1976): 63–6.
Gillis, William. “Durrenmatt and the Detectives.” The German Quarterly 35.1 (1962): 71–4.
Grabowski, Arthur and Krempl, Renata. “One Table and Two Theatres: How to Produce a Polish Drama about Europe for an American Audience, or What Use a Director Can Make of a Dramaturg.” Slavic and East European Performance 26.3 (2006): 32–43.
Hurley, Paul J.France and America: Versions of the Absurd.” College English 26.8 (1965): 634–40.
Hurt, James. “Arthur Kopit's Wings and the Languages of the Theater.” American Drama 8.1 (1998): 75–94.
Innes, Christopher. “Allegories from the Past: Stoppard's Uses of History.” Modern Drama 49.2 (2006): 223–37.
Innes, Christopher. “The Canon: The Theatre of the Absurd. By Martin Esslin,” Times Higher Education 18 June 2009.
Jedrzekjo, Pawel and Baraka, Amiri. “Still a Revolutionary.” New Theatre Quarterly 26.4 (2010): 340–50.
Jackson, Shannon. Professing Performance: Theatre in the Academy from Philology to Performativity. Cambridge University Press, 2004.
Juliet, Charles. Conversations with Samuel Beckett and Bram van Velde. Dalkey Archive Press, 1996.
Kampf, Louis. “The Permanence of Modernism.” College English 28.1 (1966): 1–15.
Kejna-Sharratt, Barbara. “Slawomir Mrozek and the Polish Tradition of the Absurd.” New Zealand Slavonic Journal 1 (1974): 75–86.
Kaufmann, Walter. Existentialism: From Dostoevsky to Sartre. New York: Plume, 1975.
Kumar, Nita N.The Logic of Retribution: Amiri Baraka's Dutchman.” African American Review 37.2 (2003): 271–9.
Marowitz, Charles. “State of Play.” The Tulane Drama Review 11.2 (1966): 203–6.
Martin, Elizabeth. “Human Chaos and Arcadia's Hidden Twin.” Publications of the Mississippi Philological Association (2010): 40–59.
Meerzon, Yana. “Dancing on the X-rays: On the Theatre of Memory, Counter-Memory, and Postmemory in the Post-1989 East-European Context.” Modern Drama 54.4 (2011): 479–510.
Meisel, Martin. “Shaw, Stoppard and ‘Audible Intelligibility’.” Shaw: The Annual of Bernard Shaw Studies 27 (2007): 42–58.
Meisel, Martin. “The Last Waltz: Tom Stoppard's Poetics of Science.” Wordsworth Circle 38.1–2 (2007): 13–19.
Morfee, Adrian. Antonin Artaud's Writing Bodies. Oxford: Clarendon Press, 2005.
O'Connor, John. “Dancing with Freud: Slawomir Mrozek's Tango.” Studies in the Literary Imagination 34.2 (2001): 1–11.
O'Neill, Michael C.History as Dramatic Present: Arthur L. Kopit's ‘Indians’.” Theatre Journal 34.4 (1982): 493–504.
Parker, R. B.Farce and Society: The Range of Kingsley Amis.” Wisconsin Studies in Contemporary Literature 2.3 (1961): 27–38.
Piggford, George. “Looking into Black Skulls: Amiri Baraka's Dutchman and the Psychology of Race.” Modern Drama 40.1 (1997): 74–85.
Plunka, Gene A., ed. Antonin Artaud and the Modern Theater. Rutherford: Fairleigh Dickinson University Press, 1994.
Podol, Peter L.The Grotesque Mode in Contemporary Spanish Theater and Film.” Modern Language Studies 15.4 (1985): 194–207.
Ross, Ciaran. Beckett's Art of Absence: Rethinking the Void. Houndsmills: Palgrave Macmillan, 2011.
Schryer, Stephen. “A Culture of Violence and Foodsmells: Amiri Baraka's The System of Dante's Hell and the War on Poverty.” Arizona Quarterly: A Journal of American Literature, Culture, and Theory 66.1 (2010): 145–64.
Sell, Mike. “Jazz, Drama, and Drug War: The Living Theatre's Production of The Connection.” On-Stage Studies 20 (1997): 28–47.
Sichert, Margit. “The Staging of Excessive Emotions; Adrienne Kennedy's Funnyhouse of a Negro.” The Yearbook of Research in English and American Literature 16 (2000): 229–51.
Sikes, Alan W.Politics and Pornography: Czech Performance in the International Arena.” Theatre Journal 62.3 (2010): 373–87.
Sollors, Werner. “Owls and Rats in the American Funnyhouse: Adrienne Kennedy's Drama.” American Literature 63.3 (1991): 507–32.
Spencer, Jenny S.Emancipated Spectatorship in Adrienne Kennedy's Plays.” Modern Drama 55.1 (2012): 19–39.
Stankiewicz, Marketa Goetz. “Slawomir Mrozek: Two Forms of the Absurd.” Contemporary Literature 12.2 (1971): 188–203.
Stankiewicz, Marketa Goetz. “The Metamorphosis of the Theatre of the Absurd or the Jobless Jester.” Pacific Coast Philology 7 (1972): 54–64.
Tattenbaum, Mark F.Rozewicz's Card Index Scattered in Its U.S. Premire: Recycling, Discarding, and Adding the Fragments.” Slavic and East European Performance: Drama, Theatre and Film 27.2 (2007): 65–70.
Taylor, John Russell. “Ten Years of the English Stage Company.” The Tulane Drama Review 11.2 (1966): 120–31.
Trensky, Paul I.Vaclav Havel and the Language of the Absurd.” The Slavic and East European Journal 13.1 (1969): 42–65.
Tsushima, Michiko. “On the Boundaries between Materiality and Immateriality: Words and Music and Cascando,” Samuel Beckett Working Group, IFTR 2011 Conference, Osaka, Japan.
Zimmerman, Judith. “Tom Stoppard's Russian Thinkers.” New England Review: Middlebury Series 28.3 (2007): 80–94.

Metrics

Altmetric attention score

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Book summary page views

Total views: 0 *
Loading metrics...

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed.