Existentialism and Theatre

         Existentialism is a concept that became popular during the 
 second World War in France, and just after it. French playrights have 
 often used the stage to express their views, and these views came to 
 surface even during a Nazi occupation. Bernard Shaw got his play 
 "Saint Joan" past the German censors because it appeared to be very 
 Anti-British. French audiences however immediately understood the real 
 meaning of the play, and replaced the British with the Germans. Those 
 sorts of "hidden meanings" were common throughout the period so that 
 plays would be able to pass censorship.
         Existentialism proposes that man is full of anxiety and 
 despair with no meaning in his life, just simply existing, until he 
 made decisive choice about his own future. That is the way to achieve 
 dignity as a human being. Existentialists felt that adopting a social 
 or political cause was one way of giving purpose to a life. Sartre is 
 well known for the "Theatre engage" or Theatre 'committed', which is 
 supposedly committed to social and/or political action.
         One of the major playwrights during this period was Jean-Paul 
 Sartre. Sartre had been imprisoned in Germany in 1940 but managed to 
 escape, and become one of the leaders of the Existential movement. 
 Other popular playwrights were Albert Camus, and Jean Anouilh. Just 
 like Anouilh, Camus accidentally became the spokesman for the French 
 Underground when he wrote his famous essay, "Le Mythe de Sisyphe" or 
 "The Myth of Sisyphus". Sisyphus was the man condemned by the gods to
 roll a rock to the top of a mountain, only to have it roll back down 
 again. For Camus, this related heavily to everyday life, and he saw 
 Sisyphus an "absurd" hero, with a pointless existence. Camus felt that 
 it was necessary to wonder what the meaning of life was, and that the 
 human being longed for some sense of clarity in the world, since "if 
 the world were clear, art would not exist". "The Myth of Sisyphus" 
 became a prototype for existentialism in the theatre, and eventually 
 The Theatre of the Absurd.
         Right after the Second World War, Paris became the theatre 
 capital of the west, and popularized a new form of surrealistic 
 theatre called "Theatre of the Absurd". Many historians contribute the 
 sudden popularity of absurdism in France to the gruesome revelations 
 of gas chambers and war atrocities coming out of Germany after the 
 war. The main idea of The Theatre of the Absurd was to point out man's 
 helplessness and pointless existence in a world without purpose. As 
 Richard Coe described it "It is the freedom of the slave to crawl east 
 along the deck of a boat going west". Two of the most popular 
 playwrights of this time include Samuel Beckett, who's most famous 
 piece was "Waiting for Godot", and Eugene Ioensco with "Exit the 
 King". Most absurdist plays have no logical plot. The absence of the 
 plot pushes an emphasis on proving the pointless existence of man. 
 Quite often, such plays reveal the human condition at it's absolute 
 worst.
         Absurdist playwrites often used such techniques as symbolism, 
 mime, the circus, and the commedia dell'arte, which are quite evident 
 in the more popular plays of the time, such as Waiting for Godot, The 
 Bald Prima Donna, and Amedee.