Name: ベケット、イオネスコ、そして不条理劇場。クラッシュ・コース・シアター#45 (Beckett, Ionesco, and the Theater of the Absurd: Crash Course Theater #45)
Uploaded: 2021-01-14T08:13:28.000Z
Duration: 11 min 57 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

未来進行形

I'm Mike Rugnetta, this is Crash Course
Theater, and today we'll be discussing the

It's fine, plenty of time to wait for that
guy: not a lot happens in these plays.

lights up, when you get around to it, I guess!

INTRO
What is the Theater of the Absurd, and how

It's a movement that got going in the 1950s,
influenced by the events of forties.

Because, after you've come out of a world
war in which millions of people were killed,

with atrocity after atrocity, and the world
would never be the same, maybe light comedy

The Theater of the Absurd wasn't one of
those moments where everyone hung out in bars

And maybe that's good, because some of those
parties would have been… dour.

No, it was more of a loose style that a bunch
of playwrights started writing in pretty much

And then, one day, critic Martin Esslin noticed
and wrote an essay about it, and—bam!—a

The Theater of the Absurd is another style
that rejects realism.

Absurdism, like Dadaism and Surrealism, is
predicted on the idea that life doesn't

This isn't absurd like comedy-in-2018, more
of a deeply dissatisfied, questioning kind

Nothing happens, or if stuff does happen,
it's unmotivated.

Words don't make meaning in the usual way,
and characters aren't consistent.

Mysteries don't get solved, and order doesn't
get restored.

… LOL
Philosophically, the worldview of the Theater

of the Absurd is similar to existentialism,
probably because Esslin was

In “The Myth of Sisyphus,” Camus wrote:

“A world that can be explained even with
bad reasons is a familiar world.

But, on the other hand, in a universe suddenly
divested of illusions and lights, man feels

His exile is without remedy since he is deprived
of the memory of a lost home or the hope of

This divorce between man and his life, the
actor and his setting, is properly the feeling

… LOL
Esslin thought that the Theater of the Absurd

could help its audience to accept life as
meaningless and maybe not be so depressed

He wrote: “It is a challenge to accept the
human condition as it is, in all its mystery

and absurdity, and to bear it with dignity,
nobly, responsibly; precisely because there

are no easy solutions to the mysteries of
existence, because ultimately man is alone

The shedding of easy solutions, of comforting
illusions, may be painful, but it leaves behind

And that is why, in the last resort, the Theatre
of the Absurd does not provoke tears of despair

There are a lot of playwrights who get labeled
absurdist, including Alfred Jarry, Guillaume

Apollinaire, and also the Italian playwright
Luigi Pirandello, king of the it-happened-like-this-no-it-happened-like-that-nope-I'm-never-gonna-understand-this-because-the-world-is-fundamentally-unknowable

We're going to look at three other absurdist
playwrights today, Jean Genet, Eugene Ionesco,

Jean Genet was born in France in 1910 and
was abandoned soon after.

As a kid, he tried to run away a lot, and
he often stole.

When he was fifteen, he was sent to French
juvie.

When he turned eighteen, he joined the French
Foreign Legion, but he was drummed out for

He wandered around for a while, supporting
himself with prostitution and petty theft.

He was in and out of prison, and it was in
prison that he began to write, completing

an experimental novel, “Our Lady of the
Flowers,” in 1944.

Genet became popular with the French intellectual
crowd.

So when he was threatened with life imprisonment
in 1949 for more theft, those intellectuals

came together to petition the government to
free him.

Philosopher and playwright Jean-Paul Sartre
was such a fan that he wrote a seven hundred-page

analysis of his life and work called “Saint
Genet.”

When Genet turned to the theater, first with
the short play “Deathwatch,” he established

the themes that would fascinate him for years:
sex, power, beauty, degradation, ritual, and

Most of the characters in Genet's plays
are consciously playing roles that can suddenly

And with a shift in power dynamics comes a
shift in sexual dynamics.

Reality often shifts, too, which gives the
plays a disturbing, decentering quality.

You can see this in “The Balcony,” which
is set in a brothel that caters to sexual

role play,
and in “The Blacks,” in which a cast of

Let's take a closer look at Genet's work
by dusting off his three-character 1947 drama,

Grab a mop, ThoughtBubble:
“The Maids” begins with a scene between

Madame insults Claire, and Claire bullies
Madame, forcing her to wear a red dress.

Then an alarm clock goes off, startling both
women.

We realize that “Madame” is actually the
maid Claire, and “Claire” is her sister

Solange, and that this is an elaborate psychosexual
game they play, taking turns as Madame.

字幕リスト動画再生

ベケット、イオネスコ、そして不条理劇場。クラッシュ・コース・シアター#45 (Beckett, Ionesco, and the Theater of the Absurd: Crash Course Theater #45)

weird

grab

sense

random