Skip to main content Accessibility help

Further reading

Published online by Cambridge University Press: 05 November 2015

Michael Y. Bennett

Show author details

Michael Y. Bennett: Affiliation:
University of Wisconsin, Whitewater

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'

Type: Chapter
Information: The Cambridge Introduction to Theatre and Literature of the Absurd , pp. 150 - 159

DOI: https://doi.org/10.1017/CBO9781107284265.009 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2015

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Bennett, Michael Y.Reassessing the Theatre of the Absurd: Camus, Beckett, Ionesco, Genet, and Pinter. New York: Palgrave Macmillan, 2011.CrossRef Google Scholar

Brater, Enoch and Cohn, Ruby, eds. Around the Absurd: Essays on Modern and Postmodern Drama. Ann Arbor: The University of Michigan Press, 1990.CrossRef Google Scholar

Cornwell, Neil. The Absurd in Literature. Manchester University Press, 2006.CrossRef Google Scholar

Demastes, William W.Theatre of Chaos: Beyond Absurdism, Into Orderly Disorder. Cambridge University Press, 1998.Google Scholar

Esslin, Martin, ed. Absurd Drama. Middlesex: Penguin Books, 1965.Google Scholar

Esslin, Martin. The Theatre of the Absurd. New York: Anchor Books, 1961 [2nd edn. 1969; 3rd edn. 2004].Google Scholar

Gaensbauer, Deborah B.The French Theater of the Absurd. Boston: Twayne Publishers, 1991.Google Scholar

Gavins, Joanna.Reading the Absurd. Edinburgh: Edinburgh University Press, 2013.Google Scholar

Hinchcliffe, Arnold P.The Absurd. London: Methuen & Co Ltd, 1969.Google Scholar

Mayberry, Bob. Theatre of Discord: Dissonance in Beckett, Albee, and Pinter. Rutherford: Fairleigh Dickinson University Press, 1989.Google Scholar

Pronko, Leonard Cabell. Avant-Garde: The Experimental Theater in France. Berkeley: University of California Press, 1966.Google Scholar

Styan, J. L.The Dark Comedy: The Development of Modern Comic Tragedy. 2nd edn. Cambridge University Press, 1968.CrossRef Google Scholar

Wellwarth, George. The Theater of Protest and Paradox: Developments in the Avant-Guarde Drama. Revised edn. New York University Press, 1971.Google Scholar

Albee, Edward. The Collected Plays of Edward Albee: 1958–1965. New York: Overlook Duckworth, 2007.Google Scholar

Albee, EdwardThe Collected Plays of Edward Albee: 1966–1977. New York: Overlook Duckworth, 2008.Google Scholar

Albee, EdwardThe Collected Plays of Edward Albee: 1978–2003. New York: Overlook Duckworth, 2008.Google Scholar

Albee, EdwardStretching My Mind. New York: Carroll & Graf Publishers, 2005.Google Scholar

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.CrossRef Google Scholar

Gussow, Mel. Edward Albee: A Singular Journey: A Biography. New York: Simon & Schuster, 1999.Google Scholar

Kolin, Philip C., ed. Conversations with Edward Albee. Jackson: University Press of Mississippi, 1988.Google Scholar

Mann, Bruce J., ed. Edward Albee: A Casebook. New York: Routledge, 2003.Google Scholar

Paolucci, Anne. From Tension to Tonic: The Plays of Edward Albee. Carbondale: Southern Illinois University Press, 1972.Google Scholar

Beckett, Samuel. Collected Shorter Plays. New York: Grove Press, 1984.Google Scholar

Beckett, SamuelDisjecta: Miscellaneous Writings and a Dramatic Fragment. Ed. Cohn, Ruby. New York: Grove Press, 1984.Google Scholar

Beckett, Samuel. Endgame. New York: Grove Press, 1956.Google Scholar

Beckett, Samuel. Happy Days. New York: Grove Press, 1961.Google Scholar

Beckett, SamuelMurphy. New York: Grove Press, 1957.Google Scholar

Beckett, SamuelThree Novels: Molloy, Malone Dies, The Unnamable. New York: Grove Press, 1958.Google Scholar

Beckett, SamuelWaiting for Godot. New York: Grove Press, 1954.Google Scholar

Beckett, SamuelWatt. New York: Grove Press, 1953.Google Scholar

Ben-Zvi, Linda. Samuel Beckett. Boston: Twayne, 1986.Google Scholar

Ben-Zvi, LindaBeckett at 100: Revolving It All, eds. Ben-Zvi, Linda and Moorjani, Angela. Oxford University Press, 2008.Google Scholar

Brater, Enoch. Beyond Minimalism: Beckett's Late Style in the Theatre. New York: Oxford University Press, 1987.Google Scholar

Brater, EnochThe Drama in the Text: Beckett's Late Fiction. New York: Oxford University Press, 1994.Google Scholar

Brater, EnochWhy Beckett. London: Thames and Hudson, 1989.Google Scholar

Bryden, Mary. Samuel Beckett and the Idea of God. Basingstoke: Macmillan, 1998.CrossRef Google Scholar

Cohen, Ruby. A Beckett Canon. Ann Arbor: University of Michigan Press, 2001.CrossRef Google Scholar

Cohen, Ruby ed. Beckett, Samuel: Waiting for Godot: A Casebook. Houndmills: Macmillan, 1987.Google Scholar

Gontarski, S. E.The Intent of Undoing Samuel Beckett's Dramatic Texts. Bloomington: Indiana University Press, 1985.Google Scholar

Kern, Edith. “Drama Stripped for Inaction: Beckett's Godot.” Yale French Studies 14 (1954): pp. 56–62.Google Scholar

Knowlson, James. Damned to Fame: The Life of Samuel Beckett. London: Bloomsbury, 1996.Google Scholar

Le Juez, Brigette. Beckett Before Beckett. Trans. Schwartz, Ros. London: Souvenir Press, 2008.Google Scholar

McDonald, Rónán. The Cambridge Introduction to Samuel Beckett. Cambridge University Press, 2006.Google Scholar

Oppenheim, Lois, ed. Palgrave Advances in Samuel Beckett Studies. New York: Palgrave Macmillan, 2004.CrossRef Google Scholar

Pilling, John, ed. The Cambridge Companion to Beckett. Cambridge University Press, 1994.CrossRef Google Scholar

Uhlmann, A.Beckett and Poststructuralism. Cambridge University Press, 1999.Google Scholar

Camus, Albert. The Fall. Trans. O'Brien, Justin. New York: Vintage International, 1984.Google Scholar

Camus, AlbertThe Myth of Sisyphus: and Other Essays. Trans. O'Brian, Justin. New York: Vintage Books, 1955.Google Scholar

Camus, AlbertThe Plague. Trans. Gilbert, Stuart. New York: Vintage Books, 1972.Google Scholar

Camus, AlbertThe Rebel: An Essay on Man in Revolt. Trans. Bower, Anthony. New York: Vintage Books, 1956.Google Scholar

Blanchard, Marc. “Before Ethics: Camus's Pudeur.” MLN 112.4 (1997): 666–82.Google Scholar

Brée, Germaine. Camus and Sartre: Crisis and Commitment. New York: Delacorte Press, 1972.Google Scholar

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.Google Scholar

Fotiade, Ramona. Conceptions of the Absurd: From Surrealism to the Existential Thought of Chestov and Fondane. Oxford: Legenda, 2001.Google Scholar

Hughes, Edward J., ed. The Cambridge Companion to Camus. Cambridge University Press, 2007.CrossRef Google Scholar

Peter, Royle. The Satre-Camus Controversy: A Literary and Philosophical Critique. University of Ottawa Press, 1982.Google Scholar

Pollmann, Leo. Sartre and Camus: Literature of Existence, trans. Helen, and Sebba, Gregor. New York: Frederik Ungar Publishing Co., 1970.Google Scholar

Robinson, James E. “Sisyphus Happy: Beckett Beyond the Absurd.” Samuel Beckett Today/aujourd'hui 6 (1997): 343–52.Google Scholar

Sagi, Avi. Albert Camus and the Philosophy of the Absurd. Amsterdam: Rodopi, 2002.Google Scholar

Vanborre, Emmanuelle Anne, ed., The Originality and Complexity of Albert Camus's Writings. New York: Palgrave Macmillan, 2012.CrossRef Google Scholar

Zucker, Richard. “The Happiness of Sisyphus.” Kinesis (1987): 41–65.

Genet, Jean. The Balcony. Trans. Frechtman, Bernard. New York: Grove Press, 1966.Google Scholar

Genet, JeanThe Blacks: A Clown Show. Trans. Frechtman, Bernard. New York: Grove Press, Inc., 1960.Google Scholar

Genet, JeanThe Maids and Deathwatch: Two Plays. Trans. Frechtman, Bernard. New York: Grove Press, Inc., 1961.Google Scholar

Genet, Jean. Our Lady of the Flowers. Trans. Frechtman, Bernard. Toronto: Bantam Books, 1964.Google Scholar

Genet, Jean. The Screens. Trans. Frechtman, Bernard. New York: Grove Press, 1962.Google Scholar

Genet, Jean. The Thief's Journal. Trans. Frechtman, Bernard. Middlesex: Penguin Books, 1967.Google Scholar

Coe, Richard N.The Vision of Genet. New York: Grove Press, 1968.Google Scholar

Driver, Tom Faw. Jean Genet. New York: Columbia University Press, 1966.Google Scholar

Knapp, Bettina Liebowitz. Jean Genet. New York: Tw ayne, 1968.Google Scholar

McMahon, Joseph H.The Imagination of Jean Genet. New Haven: Yale University Press, 1963.Google Scholar

Oswald, Laura. Jean Genet and the Semiotics of Performance. Bloomington: Indiana University Press, 1989.Google Scholar

Savona, Jeannette L.Jean Genet. New York: Grove Press, 1983.CrossRef Google Scholar

Styan, J. L.Symbolism, Surrealism and the Absurd. Vol. 2 of Modern Drama in Theory and Practice. Cambridge University Press, 1981.Google Scholar

Ionesco, Eugene. “Dans les armes de la ville.” Cahiers de la Companie Madeleine Renaud-Jean-Louis Barrault 20 (October 1957): 2–5.Google Scholar

Ionesco, Eugene “Ionesco and the Critics: Eugene Ionesco Interviewed by Gabriel Jacobs.” Critical Inquiry 1.3 (March 1975): 641–67.Google Scholar

Ionesco, EugeneNotes and Counter Notes. Trans. Watson, Donald. New York: Grove Press, 1964.Google Scholar

Ionesco, Eugene “Notes on My Theatre.” Trans. Pronko, Leonard C.. The Tulane Drama Review 7.3 (Spring 1963): 126–59.Google Scholar

Ionesco, EugeneRhinoceros and Other Plays. Trans. Prouse, Derek. New York: Grove Press, Inc., 1960.Google Scholar

Ionesco, EugeneA Stroll in the Air, Frenzy for Two, Or More. Trans. Watson, Donald. New York: Grove Press, 1965.Google Scholar

Ionesco, EugeneThree Plays: Amédée, The New Tenant, Victims of Duty. Trans. Watson, Donald. New York: Grove Press, 1958.Google Scholar

Ionesco, EugeneThree Plays: Exit the King, The Killer, and Macbett. Trans. Marowitz, Charles and Watson, Donald. New York: Grove Press, 1985.Google Scholar

Ionesco, Eugene “Theaters of the Absurd.” Partisan Review 56.1 (1989): 45–9.Google Scholar

Ionesco, Eugene “The Avant-Garde Theatre.” The Tulane Drama Review 5.2 (December 1960): 44–53.Google Scholar

Ionesco, EugeneFour Plays: The Bald Soprano, The Lesson, Jack, or The Submission, The Chairs. Trans. Allen, Donald M.. New York: Grove, 1958.Google Scholar

Ionesco, Eugene. “The World of Ionesco.” The Tulane Drama Review 3.1 (October 1958): 46–8.Google Scholar

Gaensbauer, Deborah B.Eugene Ionesco Revisited. New York: Twayne Publishers, 1996.Google Scholar

Hayman, Ronald. World Dramatists: Eugene Ionesco. New York: Frederick Unger, 1976.Google Scholar

Lewis, Allan. Ionesco. New York: Twayne Publishers, Inc., 1972.Google Scholar

Pinter, Harold. Complete Works: One. New York: Grove Press, 1976.Google Scholar

Pinter, Harold. Complete Works: Two. New York: Grove Press, 1977.Google Scholar

Pinter, Harold. Complete Works: Three. New York: Grove Press, 1978.Google Scholar

Pinter, Harold. Complete Works: Four. New York: Grove Press, 1981.Google Scholar

Pinter, Harold. The Dwarfs. New York: Grove Press, 1990.Google Scholar

Pinter, Harold. “Letter to Peter Wood,” The Kenyon Review 3.3 (Summer 1981): 1–5.Google Scholar

Billington, Michael. The Life and Work of Harold Pinter. London: Faber and Faber, 1996.Google Scholar

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.CrossRef Google Scholar

Adamov, Arthur. Paolo Paoli. Trans. Brereton, Geoffrey. London: John Calder, 1959.Google Scholar

Adamov, Arthur. Ping Pong: Two Plays by Arthur Adamov. Trans. Prouse, Derek and Meyer, Peter. London: John Calder, 1962.Google Scholar

Arrabal, Fernando. Guernica and Other Plays. New York: Grove Press, 1974.Google Scholar

Artaud, Antonin, Collected Works: Volume One. Trans. Corti, Victor. London: John Calder, 1968.Google Scholar

Artaud, Antonin. Collected Works: Volume Two. Trans. Corti, Victor. London: John Calder, 1971.Google Scholar

Artaud, Antonin. Collected Works: Volume Three. Trans. Hamilton, Alastair. London: Calder & Boyars, 1972.Google Scholar

Artaud, Antonin. The Theater and Its Double. Trans. Richards, Mary Caroline. New York: Grove Press, 1958.Google Scholar

Dürrenmatt, Friedrich. The Physicists. Trans. Kirkup, James. New York: Grove Press, 1964.Google Scholar

Dürrenmatt, Friedrich. The Visit: A Tragi-Comedy. Trans. Bowles, Patrick. New York: Grove Press, 1962.Google Scholar

Gelber, Jack. The Apple. New York: Grove Press, 1960.Google Scholar

Gelber, Jack. The Connection. New York: Grove Press, 1960.Google Scholar

Havel, Václav. The Garden Party and Other Plays. New York: Grove Press, 1993.Google Scholar

Jannarone, Kimberly, Artaud and His Doubles. Ann Arbor: University of Michigan Press, 2010.CrossRef Google Scholar

Jarry, Alfred. Ubu Roi. Trans. Keith, Beverly and Legman, G.. Mineola: Dover Publications, Inc., 2003.Google Scholar

Kafka, Franz. Metamorphosis and Other Stories.

Kafka, Franz. The Trial.

Kennedy, Adrienne. In One Act. Minneapolis: University of Minnesota Press, 1988.Google Scholar

Kopit, Arthur. Indians. New York: The Noonday Press, 1969.Google Scholar

Kopit, Arthur. Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin’ So Sad. New York: Pocket Books, 1966.Google Scholar

Mrozek, Slawomir. Six Plays. Trans. Bethell, Nicholas. New York: Grove Press, 1967.Google Scholar

Ostashevsky, Eugene, ed. OBERIU: An Anthology of Russian Absurdism. Evanston: Northwestern University Press, 2006.Google Scholar

Rozewicz, Tadeusz. The Card Index and Other Plays. Trans. Czerniawski, Adam. New York: Grove Press, 1969.Google Scholar

Rozewicz, Tadeusz. Reading the Apocalypse in Bed: Selected Plays and Short Pieces. Trans. Czerniawski, Adam, Plebanek, Barbara, and Howard, Tony. London: Marion Boyars, 1998.Google Scholar

Simpson, N. F.One Way Pendulum: A Farce in a New Dimension. New York: Grove Press, 1960.Google Scholar

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.Google Scholar

Barker, Roberta. “The Circle Game: Gender, Time, and ‘Revolution’ in Tom Stoppard's The Coast of Utopia.” Modern Drama 48.4 (2005): 706–25.Google Scholar

Barnett, Claudia. “‘An Evasion of Ontology’: Being Adrienne Kennedy.” The Drama Review: A Journal of Performance Studies 49.3 (2005): 157–86.Google Scholar

Bennett, Michael Y. “Away from the Absurd?: The Critical Response to Beckett at 100” Kritikon Litterarum 36.3/4 (December 2009): 230–8.Google Scholar

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.Google Scholar

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)Google Scholar

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.Google Scholar

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.Google Scholar

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.Google Scholar

Bennett, Michael Y.. Words, Space, and the Audience: The Theatrical Tension between Empiricism and Rationalism. New York: Palgrave Macmillan, 2012.CrossRef Google Scholar

Ben-Zvi, Linda and Moorjani, Angela, eds. Beckett at 100: Revolving it All. Oxford University Press, 2008.Google Scholar

Bhatia, Nandi. “Reinventing India through ‘A Quite Witty Pastiche’: Reading Tom Stoppard's Indian Ink.” Modern Drama 52.2 (2009): 220–37.Google Scholar

Brayshaw, Richard and Burgoyne Dieckman, Suzanne. “Wings, Watchers, and Windows: Imprisonment in the Plays of Arthur Kopit.” Theatre Journal 35.2 (1983): 195–211.Google Scholar

Camus, Albert. Le mythe de Sisyphe: Essai sur L'Absurde. Gallimard, 1942.Google Scholar

Carlson, Marvin. Theories of the Theatre: A Historical and Critical Survey, from the Greeks to the Present. Ithaca: Cornell University Press, 1984.Google Scholar

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.Google Scholar

Chung, Moonyoung. “Stage as Hyperspace: Theatricality of Stoppard.” Modern Drama 48.4 (2005): 689–705.Google Scholar

Czerwinski, Edward J. “Tadeusz Rozewicz and the Jester-Priest Metaphor.” The Slavic and East European Journal 13.2 (1969): 217–28.Google Scholar

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.Google Scholar

Dietemann, Margaret. “Departure from the Absurd: Adamov's Last Plays.” Yale French Studies 46 (1971): 48–59.Google Scholar

Diller, Edward. “Aesthetics and the Grotesque: Friedrich Durrenmatt.” Wisconsin Studies in Contemporary Literature 7.3 (1966): 328–35.Google Scholar

Diller, Edward. “Friedrich Durrenmatt's Theological Concept of History.” The German Quarterly 40.3 (1967): 363–71.Google Scholar

Donahue, Francis. “Arrabal: Organic Playwright.” Midwest Quarterly: A Journal of Contemporary Thought 25 (1984): 187–200.Google Scholar

Doxtader, Erik W. “Characters in the Middle of Public Life: Consensus, Dissent, and Ethos.” Philosophy and Rhetoric 33.4 (2000): 336–69.Google Scholar

Engler, Bernd. “Antidrama–Metadrama–Artistic Program? Arthur Kopit's The Hero in Context.” Connotations: A Journal for Critical Debate 3.3 (1994): 279–90.Google Scholar

Esslin, Martin, ed. Absurd Drama. Middlesex: Penguin, 1965.Google Scholar

Esslin, Martin. “Beckett and the Quest for Meaning,” Samuel Beckett Today 11 (2001): 27–30.Google Scholar

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.Google Scholar

Esslin, Martin. “Mrozek, Beckett, and the Theatre of the Absurd.” New Theatre Quarterly 10.40 (1994): 377–81.Google Scholar

Esslin, Martin. “The Theatre of the Absurd.” The Tulane Drama Review 4.4 (May 1960): 3–15.CrossRef Google Scholar

Esslin, Martin. “What Beckett Teaches Me: His Minimalist Approach to Ethics,” Samuel Beckett Today 2 (1993): 13–20.Google Scholar

Filipowicz, Halina. “Tadeusz Rozewicz's Postmodern Trilogy.” The Polish Review 36.1 (1991): 83–102.Google Scholar

Filipowicz, Halina. “Theatrical Reality in the Plays of Tadeusz Rozewicz.” The Slavic and East European Journal 26.4 (1982): 447–59.Google Scholar

Fischler, Alexander. “The Absurd Professor in the Theater of the Absurd.” Modern Drama 21 (1978): 137–52.CrossRef Google Scholar

Fothergill, C. Z. “Echoes of a Resounding Tinkle: N.F. Simpson Reconsidered.” Modern Drama 16.3–4 (1973): 299–306.CrossRef Google Scholar

Gerould, Daniel C. “Tadeusz Rozewicz: Playwriting as Collage.” Performing Arts Journal 1.2 (1976): 63–6.Google Scholar

Gillis, William. “Durrenmatt and the Detectives.” The German Quarterly 35.1 (1962): 71–4.Google Scholar

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.Google Scholar

Hurley, Paul J. “France and America: Versions of the Absurd.” College English 26.8 (1965): 634–40.Google Scholar

Hurt, James. “Arthur Kopit's Wings and the Languages of the Theater.” American Drama 8.1 (1998): 75–94.Google Scholar

Innes, Christopher. “Allegories from the Past: Stoppard's Uses of History.” Modern Drama 49.2 (2006): 223–37.Google Scholar

Innes, Christopher. “The Canon: The Theatre of the Absurd. By Martin Esslin,” Times Higher Education 18 June 2009.Google Scholar

Jedrzekjo, Pawel and Baraka, Amiri. “Still a Revolutionary.” New Theatre Quarterly 26.4 (2010): 340–50.Google Scholar

Jackson, Shannon. Professing Performance: Theatre in the Academy from Philology to Performativity. Cambridge University Press, 2004.CrossRef Google Scholar

Juliet, Charles. Conversations with Samuel Beckett and Bram van Velde. Dalkey Archive Press, 1996.Google Scholar

Kampf, Louis. “The Permanence of Modernism.” College English 28.1 (1966): 1–15.Google Scholar

Kejna-Sharratt, Barbara. “Slawomir Mrozek and the Polish Tradition of the Absurd.” New Zealand Slavonic Journal 1 (1974): 75–86.Google Scholar

Kaufmann, Walter. Existentialism: From Dostoevsky to Sartre. New York: Plume, 1975.Google Scholar

Kumar, Nita N. “The Logic of Retribution: Amiri Baraka's Dutchman.” African American Review 37.2 (2003): 271–9.Google Scholar

Marowitz, Charles. “State of Play.” The Tulane Drama Review 11.2 (1966): 203–6.Google Scholar

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.Google Scholar

Meisel, Martin. “Shaw, Stoppard and ‘Audible Intelligibility’.” Shaw: The Annual of Bernard Shaw Studies 27 (2007): 42–58.Google Scholar

Meisel, Martin. “The Last Waltz: Tom Stoppard's Poetics of Science.” Wordsworth Circle 38.1–2 (2007): 13–19.Google Scholar

Morfee, Adrian. Antonin Artaud's Writing Bodies. Oxford: Clarendon Press, 2005.Google Scholar

O'Connor, John. “Dancing with Freud: Slawomir Mrozek's Tango.” Studies in the Literary Imagination 34.2 (2001): 1–11.Google Scholar

O'Neill, Michael C. “History as Dramatic Present: Arthur L. Kopit's ‘Indians’.” Theatre Journal 34.4 (1982): 493–504.Google Scholar

Parker, R. B. “Farce and Society: The Range of Kingsley Amis.” Wisconsin Studies in Contemporary Literature 2.3 (1961): 27–38.Google Scholar

Piggford, George. “Looking into Black Skulls: Amiri Baraka's Dutchman and the Psychology of Race.” Modern Drama 40.1 (1997): 74–85.Google Scholar

Plunka, Gene A., ed. Antonin Artaud and the Modern Theater. Rutherford: Fairleigh Dickinson University Press, 1994.Google Scholar

Podol, Peter L. “The Grotesque Mode in Contemporary Spanish Theater and Film.” Modern Language Studies 15.4 (1985): 194–207.Google Scholar

Ross, Ciaran. Beckett's Art of Absence: Rethinking the Void. Houndsmills: Palgrave Macmillan, 2011.Google Scholar

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.Google Scholar

Sell, Mike. “Jazz, Drama, and Drug War: The Living Theatre's Production of The Connection.” On-Stage Studies 20 (1997): 28–47.Google Scholar

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.Google Scholar

Sikes, Alan W. “Politics and Pornography: Czech Performance in the International Arena.” Theatre Journal 62.3 (2010): 373–87.Google Scholar

Sollors, Werner. “Owls and Rats in the American Funnyhouse: Adrienne Kennedy's Drama.” American Literature 63.3 (1991): 507–32.Google Scholar

Spencer, Jenny S. “Emancipated Spectatorship in Adrienne Kennedy's Plays.” Modern Drama 55.1 (2012): 19–39.Google Scholar

Stankiewicz, Marketa Goetz. “Slawomir Mrozek: Two Forms of the Absurd.” Contemporary Literature 12.2 (1971): 188–203.Google Scholar

Stankiewicz, Marketa Goetz. “The Metamorphosis of the Theatre of the Absurd or the Jobless Jester.” Pacific Coast Philology 7 (1972): 54–64.CrossRef Google Scholar

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.Google Scholar

Taylor, John Russell. “Ten Years of the English Stage Company.” The Tulane Drama Review 11.2 (1966): 120–31.Google Scholar

Trensky, Paul I. “Vaclav Havel and the Language of the Absurd.” The Slavic and East European Journal 13.1 (1969): 42–65.Google Scholar

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.Google Scholar