O mito de Sísifo é um ensaio filosófico escrito por Albert Camus, em Para ele [1], o homem vive sua existência em busca de sua essência, do seu sentido, e encontra um mundo desconexo, ininteligível, guiados por entidades sufocantes como as religiões e ideologias políticas.A solução em não encontrar um sentido não deveria ser o suicídio, mas sim a revolta Nov 07, · Camus, whose entire sensibility was predicated on the notion that our search for meaning and happiness is a moral obligation, argues that this elemental question — a question, to be clear, posed as a philosophical thought experiment and not in the context of mental health in a medical sense — must be judged “by the actions it entails Le Mythe de Sisyphe = The myth of Sisyphus and other essays, Albert Camus The Myth of Sisyphus is a philosophical essay by Albert Camus. In the last chapter, Camus outlines the legend of Sisyphus who defied the gods and put Death in chains so that no human needed to die
Samuel Beckett and the Theater of the Absurd
With the appearance of En Attendant Godot Waiting for Godot at the Théâtre de Babylone in Paris camus essaysthe literary world was shocked by the appearance of a drama so different and camus essays so intriguing that it virtually created the term "Theater of the Absurd," and the entire group of dramas which developed out of this type of theater is always associated with the name of Samuel Beckett.
His contribution to this particular genre allows us to refer to him as the grand master, or father, of the genre. While other dramatists have also contributed significantly to this genre, Beckett remains its single, camus essays, most towering figure. This movement known as the Theater of the Absurd was not a consciously conceived movement, and it has never had any clear-cut camus essays doctrines, no organized attempt to win converts, and no meetings, camus essays.
Each of the main playwrights of the movement seems to have developed independently of' each other. The playwrights most often associated with the movement are Samuel Beckett, Eugene Ionesco, Jean Genet, camus essays, and Arthur Adamov. The early plays of Edward Albee and Harold Pinter fit into this classification, but these dramatists have also written plays that move far away from the Theater of the Absurd's basic elements.
In viewing the plays that comprise this movement, camus essays, we must forsake the theater of coherently developed situations, we must forsake characterizations that are rooted in the logic of motivation and reaction, we must sometimes forget settings that bear an intrinsic, realistic, or obvious relationship to the drama as a whole, we must forget the use of language as a tool of logical communication, camus essays, and we must forget cause-and-effect relationships found in traditional dramas, camus essays.
By their use of a number of puzzling devices, these camus essays have gradually accustomed audiences to a new kind of relationship between theme and presentation. In these seemingly queer and fantastic plays, the external world is often depicted as menacing, devouring, and unknown; the settings and situations often make us vaguely uncomfortable; the world itself seems incoherent and frightening and strange, but at the same time, it seems hauntingly poetic and familiar.
These are some of the reasons which prompt the critic to classify them under the heading "Theater of the Absurd" — a title which comes not from a dictionary definition of the word "absurd," but rather from Martin Esslin's book The Theatre of the Absurd, in which he maintains that these dramatists write from a "sense of metaphysical anguish at the absurdity of the human condition.
The essential camus essays is that critics like Camus essays have presented their arguments in a highly formal discourse with logical and precise views which prove their theses within the framework of traditional forms.
On camus essays contrary, the Theater of the Absurd seeks to wed form and content into an indissoluble whole in order to gain a further unity of meaning and impact. This theater, camus essays, as Esslin has pointed out, "has renounced arguing about the absurdity of the human condition; it merely presents it in being — that is, camus essays, in terms of concrete stage images of the absurdity of existence.
Too often, however, the viewer notes only these basic similarities and fails to note the distinctive differences in each dramatist, camus essays. Since these writers do not belong to any deliberate or conscious movement, they should be evaluated for their individual concerns, as well as for their contributions to the total concept of the Theater of the Absurd. In camus essays, most of these playwrights consider themselves to be camus essays rebels and outsiders, isolated in their own private worlds.
As noted above, there have been no manifestoes, no theses, camus essays conferences, and no collaborations. Each has developed along his own unique lines; each in his own way is individually and distinctly different. Therefore, it is important to see how Beckett both belongs to the Theater of the Absurd and, camus essays, equally important, how he differs from the other writers associated with this movement. First, let us note a few of the basic differences.
One of Samuel Beckett's main concerns is the polarity of existence. In Waiting for Godot, Endgame, and Krapp's Last Tape, we have such characteristic polarities as sight versus blindness, life—death, camus essays present—time past, body—intellect, waiting—not waiting, going—not going, and dozens more.
One of Beckett's main concerns, then, seems to be characterizing man's existence in terms of these camus essays. To do this, Beckett groups his characters in pairs; for example, we camus essays Vladimir and Estragon, or Didi and Gogo, Hamm and Clov, Pozzo and Lucky, Nagg and Nell, camus essays, and Krapp's present voice and past voice. Essentially, however, Beckett's characters remain a puzzle which each individual viewer must solve.
In contrast to Beckett, Eugene Ionesco's characters are seen in terms of singularity. Whereas Beckett's characters stand in pairs outside of society, but converse with each other, Ionesco's characters are placed in the midst of society — but they stand alone in an alien world with no personal identity and no one with whom they can communicate, camus essays. Camus essays example, the characters in The Bald Soprano are in society, but they scream meaningless phrases at each other, and there is no communication.
And whereas Beckett's plays take place on strange and alien landscapes some of the settings of his plays remind one of a world transformed by some holocaust or created by some surrealistIonesco's plays are set against the most traditional elements in our society — the standard English drawing room in The Bald Soprano, a typical street scene in Rhinoceros, and an average academic study in The Lesson, etc. The language of the two playwrights also differs greatly. Beckett's dialogue recalls the disjointed phantasmagoria of a dream world; Ionesco's language is rooted in the banalities, clichés, and platitudes of everyday speech; Beckett uses language to show man isolated in camus essays world and unable to communicate because language is a barrier to communication.
Ionesco, on the other hand, camus essays, uses language to show the failure of communication because there is nothing to say; in The Bald Soprano, and other plays, the dialogue is filled with clichés and platitudes. In contrast to the basic sympathy we feel for both Beckett's and Ionesco's characters, Jean Genet's characters almost revile the audience from the camus essays that they appear on the stage. His theme is stated more openly.
He is concerned with the hatred which exists in the world. In The Maids, camus essays, for example, each maid hates not just her employer and not just her own sister, camus essays, but also her own self. Therefore, she plays the other roles so as to exhaust her own hatred of herself against herself.
Basically, then, there is a great sense of repugnance in Genet's characters, camus essays. This revulsion derives partially from the fact that Genet's dramatic interest, camus essays, so different from Beckett's and Ionesco's, is in the psychological exploration of man's predilection to being trapped in his own egocentric world, rather than facing the realities of existence.
Man, for Genet, is trapped by his own fantastic illusions; man's absurdity results partially from the fact that he prefers his own disjointed images to those of reality. In Genet's directions for the production of The Blacks, camus essays, he writes that the play should camus essays be played before a totally black audience. If there are no white people present, then one of the blacks in the audience must wear a white mask; if the black refuses, then a white mannequin must be used, and the actors must play the drama for this mannequin.
There must at least be a symbol of a white audience, someone for the black actors to revile. In contrast to Beckett, Arthur Adamov, in his themes, is more closely aligned to the Kafkaesque, existentialistic school, but his technique is that of camus essays Theater of the Absurd. His interest is in establishing some proof that the individual does exist, and he shows how man becomes more alienated from his fellow man as he attempts to establish his own personal identity.
For example, in Professor Taranne, the central character, hoping to prove camus essays innocence of a certain accusation, actually convicts himself through his own defense. For Adamov, man attempting to prove his own existence actually proves, ironically, that he does not exist. Therefore language, for Adamov, serves as an inadequate system of communication and, actually, in some cases serves to the detriment of man, since by language and man's use of language, man often finds camus essays trapped in the very circumstances he previously hoped to avoid.
Ultimately, Adarnov's characters fail to communicate because each is interested only in his own egocentric self. Each character propounds his own troubles and his own achievements, but the words reverberate, as against a stone wall. They are heard only by the audience. Adamov's plays are often grounded in a dream-world atmosphere, and while they are presenting a series of outwardly confusing scenes of almost hallucinative quality, they, at the same time, attack or denounce the confusion present in modem man.
Characteristic of all these writers is a notable absence of any excess concern with sex. Edward Albee, an American, camus essays, differs significantly in his emphasis and camus essays with the sexual substructure of society. The overtones of homosexuality in The Zoo Story are carried further until the young man in The American Dream becomes the physical incarnation of a muscular and ideally handsome, young sexual specimen who, since he has no inner feelings, passively allows anyone "to take pleasure camus essays my groin.
Since all of the writers have varying concerns, they also have much in common camus essays their works reflect a moral and philosophical climate in which most of our civilization finds camus essays today. Again, as noted above, even though there are no manifestoes, nor any organized movements, there are still certain concerns that are basic to all of the writers, and Beckett's works are concerned with these basic ideas.
Beyond the technical and strange illusionary techniques which prompt the critic to group these plays into a category, there are larger and, ultimately, more significant concerns by which each dramatist, in spite of his artistic differences, camus essays, is akin camus essays the others. Aside from such similarities as violation of traditional beginning, middle, and end structure exposition, complication, and denouement or the refusal to tell a straightforward, connected story with a proper plot, camus essays, or the disappearance of traditional dramatic forms and techniques, these dramatists are all concerned with the failure of communication in modern society which leaves man alienated; moreover, they are all concerned with the lack of individuality and the overemphasis on conformity in our society, and they use the dramatic elements of time and place to imply important ideas; finally, they reject traditional logic for a type of non-logic which ultimately implies something about the nature of the universe.
Implicit camus essays many of these concerns is an attack on a camus essays or a world which possesses no set standards of values or behavior.
Foremost, all of these dramatists of the absurd are concerned with the lack of communication. In Edward Albee's plays, each character is existing within the bounds of his own private ego. Each makes a futile camus essays to get another character to understand him, but as the attempt is heightened, there is more alienation. Thus, finally, because camus essays a lack of communication, Peter, the conformist in The Zoo Story, is provoked into killing Jerry, the individualist; and in The Sandbox, camus essays, a continuation of The American Dream, Mommy and Daddy bury Grandma because she talks incessantly but says nothing camus essays. The irony is that Grandma is the only character who does say anything significant, but Mommy and Daddy, camus essays, the people who discard her, are incapable of understanding her.
Camus essays Ionesco's plays, this failure of communication often leads to even more camus essays results.
Akin to the violence in Albee's Zoo Story, the professor in The Lesson must kill his student partly because she doesn't understand his communication. Berenger, in The Killers, has uttered so many clichés that by the end of the play, he has convinced even himself camus essays the killers should kill him. In The Chairs, the old people, needing to express their thoughts, address themselves to a mass of camus essays chairs which, as the play progresses, crowd all else off the stage, camus essays.
Camus essays Maid to Marry, communication is so bad that the maid, when she appears on the stage, turns out to be a rather homely man. And ultimately in Rhinoceros, the inability to communicate causes an entire race of so-called rational human beings to be metamorphosed into a herd of rhinoceroses, thereby abandoning all hopes of language as a means of communication.
In Adamov's Professor Taranne, the professor, in spite of all his desperate attempts, is unable to get people to acknowledge his identity because there is no communication. Likewise, Pinter's plays show individuals grouped on the stage, but each person fails to achieve any degree of effective communication. This concern with communication is finally carried to its illogical extreme in two works: in Genet's The Blacks, one character says, "We shall even have the camus essays — a decency learned from you — to make communication camus essays. And even without dialogue, all the action on the stage suggests the inability of man to communicate.
Beckett's characters are tied together by a fear of being left entirely alone, and they therefore cling to one last hope of establishing some kind of communication. His plays give the impression that man is totally lost in a disintegrating society, or, as in Endgame, that man is left alone after society has disintegrated.
In Camus essays for Godot, two derelicts are seen conversing in a repetitive, strangely fragmented dialogue that possesses an illusory, haunting effect, camus essays, while they are waiting for Godot, a vague, never-defined being who will bring them some communication about — what? An impetus for living? A reason for dying? No one knows, and the safest thing to say is that the two are probably waiting for someone or something which will give them an impetus to continue living or, at least, something which will give meaning and direction to camus essays lives.
As Beckett clearly demonstrates, those who rush hither and camus essays in search of meaning find it no quicker camus essays those who sit and wait.
The "meaning" about life that these tramps hope for is never stated precisely. But Beckett never meant his play to be a "message play," in which one character would deliver a "message, camus essays. Everyone leaves the theater with the knowledge that these tramps are strangely tied to one another; even though they bicker and fight, and even though they have exhausted all conversation notice that the second act is repetitive and almost identical — the loneliness and weakness in each calls out to the other, and they are held by a mystical bond of interdependence.
In spite of this camus essays dependency, however, neither is able to communicate with the other. The other two characters, Pozzo and Lucky, are on a journey without any apparent goal and are symbolically tied together.
One talks, the other says nothing. The waiting of Vladimir and Estragon and the journeying of Pozzo and Lucky offer themselves as contrasts of various activities in the modem world — all of which lead to no fruitful end; therefore, camus essays pair is hopelessly alienated from the other pair.
For example, when Pozzo falls and yells for help, Vladimir and Estragon continue talking, although nothing is communicated in their dialogue; all is hopeless, or as Vladimir aphoristically replies to one of Estragon's long discourses, "We are all born mad.
Some remain so. Their fumbling ineffectuality in their attempts at conversation seems to represent the ineptness of camus essays mankind in its attempt at communication. And it rapidly becomes apparent that Vladimir and Estragon, as representatives of modern man, cannot formulate any cogent or useful resolution or action; and what is more pathetic, they cannot communicate their helpless longings to one another.
While failing to possess enough individualism to go their separate ways, they nevertheless are different enough to embrace most camus essays our society. In the final analysis, their one positive gesture is their strength to wait, camus essays. But man is, camus essays, ultimately, terribly alone in his waiting. Ionesco shows the same idea at the end of Rhinoceros when we see Berenger totally alone as a result, partly, of a failure in communication.
Each dramatist, camus essays, therefore, presents a critique of modern society by showing the total collapse of communication.
Albert Camus - The Plague
, time: 10:34Dream Essays: Custom Term Paper and Essay Writing Firm
Le Mythe de Sisyphe = The myth of Sisyphus and other essays, Albert Camus The Myth of Sisyphus is a philosophical essay by Albert Camus. In the last chapter, Camus outlines the legend of Sisyphus who defied the gods and put Death in chains so that no human needed to die Nov 07, · Camus, whose entire sensibility was predicated on the notion that our search for meaning and happiness is a moral obligation, argues that this elemental question — a question, to be clear, posed as a philosophical thought experiment and not in the context of mental health in a medical sense — must be judged “by the actions it entails Albert Camus: A Very Short Introduction. By Oliver Gloag Oxford University Press, Paperback $ Albert Camus was one of the most prominent and influential French philosophical writers of the 20th century, exploring the great themes of existentialist philosophy in enduring masterpieces such as The Stranger and The Plague.. Camus was a pied-noir, a descendent of the French settlers who
No comments:
Post a Comment