Absurd
「アンカーコズミカ」によると、
the Absurd不条理劇（1950年代にベケットやイヨネスコが始めた演劇のスタイル）
不条理劇とは？
「Ｗｉｋｉｐｅｄｉａ」によると、
リアリズム演劇を含め、従来の演劇では、登場人物たちによる状況の変化を求める行動が、新たな状況を具体的に生み出し、最終的に状況が打開されるか、悲劇的な結末を迎える。このダイナミズムがストーリーの軸となっている。行動とその結果の因果律が明確な世界観と言える。
これに対し、不条理演劇では、登場人物の行動とその結果、時にはその存在そのものが、因果律から切り離されるか、曖昧なものとして扱われる。登場人物を取り巻く状況は最初から行き詰まっており、閉塞感が漂っている。彼らはそれに対しなんらかの変化を望むが、その合理的解決方法はなく、とりとめもない会話や不毛で無意味な行動の中に登場人物は埋もれていく。ストーリーは大抵ドラマを伴わずに進行し、非論理的な展開をみせる。そして世界に変化を起こそうという試みは徒労に終わり、状況の閉塞感はより色濃くなっていく。
なぜ、ベケットは不条理劇を書くようになったのか？
肝心のところが、日本語版には書いてない。
英語版では…、
In 1945, Beckett returned to Dublin for a brief visit. During his stay, he had a revelation in his mother’s room in which his entire future literary direction appeared to him. This experience was later fictionalized in the 1958 play Krapp's Last Tape. Throughout the play, Krapp is listening to a tape he made earlier in his life; at one point he hears his younger self saying this: “...clear to me at last that the dark I have always struggled to keep under is in reality my most...” Krapp fast-forwards the tape before the audience can hear the complete revelation. Beckett later revealed to James Knowlson (which Knowlson relates in the biography Damned to Fame) that the missing words on the tape are "precious ally". [17] Beckett claimed he was faced with the possibility of being eternally in the shadow of Joyce, certain to never best him at his own game. Then he had a revelation, as Knowlson says, which “has rightly been regarded as a pivotal moment in his entire career." Knowlson goes on to explain the revelation as told to him by Beckett himself: "In speaking of his own revelation, Beckett tended to focus on the recognition of his own stupidity ... and on his concern with impotence and ignorance. He reformulated this for me, while attempting to define his debt to James Joyce: 'I realized that Joyce had gone as far as one could in the direction of knowing more, [being] in control of one’s material. He was always adding to it; you only have to look at his proofs to see that. I realized that my own way was in impoverishment, in lack of knowledge and in taking away, in subtracting rather than in adding.'" Knowlson explains: "Beckett was rejecting the Joycean principle that knowing more was a way of creatively understanding the world and controlling it ... In future, his work would focus on poverty, failure, exile and loss – as he put it, on man as a 'non-knower' and as a 'non-can-er.'"
なるほど。