The most prominent example of the Theatre of the Absurd is SAMUEL BECKETT's Waiting for Godot. It presents the human condition as being utterly devoid of meaning. By violating a number of classical dramatic principles (alienation effect) BECKETT disappoints the audience´s expectations and perceptive habits. These deviations are intended to make the audience aware of the human state:
HAROLD PINTER´s dramas, many of which are short plays (or one-act plays) express the failure of human communication. In his plays he creates a bizarre or terrifying situation around a limited number of characters. The focus is not on the action but on psychological subjects. In The Dumb Waiter (1959) Gus and Ben, in The Caretaker (1960) Davis, feel terrified by an anonymous menace from outside that they refer to by the indeterminate pronoun “they”. Their inability to communicate and to enter into social relationships is exemplified by silences and talking at cross purposes. They evade communication by not answering questions in a straightforward way, concealing their true motives, sticking to irrelevant topics. PINTER frequently uses indeterminate elements in order to make the audience actively participate in establishing the meaning of the play.
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