Lakhasly

The form of a piece considered the most important aspect of absurdist plays, they focus in the form rather than the subject matter.As a result, the movement of the characters on stage often contradicts their words or dialogue the dramatists are trying to emphasize a disconnect between "word and object, meaning and reality. Moreover, in doing so they expose how unreliable language is; one can easily say one thing and do the opposite. 2-lack of plot: Another poetic aspect of absurdist plays is that they lack a plot. There is usually a great deal of

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No purpose or to find

repetition in both language and action, which suggests that the play isn't actually "going anywhere."The playwrite of the absurd theatre react against realism because it did not agree with their objectives.

The form of a piece considered the most important aspect of absurdist plays, they focus in the form rather than the subject matter. They wanna to seprate them selves from the Existialist writer. The playwrite of the absurd theatre react against realism because it did not agree with their objectives. They did not want to show life as it really was, but rather, the inner-life of man-what was going on inside man's head playwrights had to abandon conventional methods and adopt peotic or lyrical form.such as;

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play surface

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of Poetic dramas

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• Ibsen

TA

1-Devaluation of Language: One characteristic of this poetic form was the devaluation of language. The absurd dramatists felt that conventional language had failed man-it was an inadequate means of communication. As a result, the movement of the characters on stage often contradicts their words or dialogue the dramatists are trying to emphasize a disconnect between "word and object, meaning and reality. Moreover, in doing so they expose how unreliable language is; one can easily say one thing and do the opposite. 2-lack of plot: Another poetic aspect of absurdist plays is that they lack a plot. There is usually a great deal of

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me.

No purpose or to find

repetition in both language and action, which suggests that the play isn't actually "going anywhere." In Waiting for Godot, the stage directions indicate that Vladimir and Estragon are constantly moving. For example, they repeatedly "rummage" through their pockets and "peer" into their hats, These actions are so frequent, however, that the audience begins to feel as if they are watching the same thing over and over