Study of Maeterlinck's Interior in the Light of Absurdity
Main Article Content
Abstract
This article is an attempt to focus on Interior by Maeterlinck in the light of Absurd tradition. Maeterlinck employed symbols to illuminate nature, spirituality, existence, and the innumerable and invisible forces that shape our existence. Maeterlinck uses symbolism to explore the theme of death that is omnipotent in everyday life. The Interior 's central theme is death. Maeterlinck generates suspense by juxtaposing the characters' uneasiness in the garden with the family's peace and ignorance within the house. In order to reach this aim, the researchers decide to explain the theatre of the Absurd and its elements. Maeterlinck distrust of language is shown in his distrust of words, using repetitions, silences, pauses and some other tactics. The existential theme and contents used in selected play are discussed. Themes such as: death, lack of individuality and lack of communication in mentioned play is discussed. Moreover, this article also contains a comparative study of the structure of the two.
Article Details
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under Creative Commons Attribution 4.0 International License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Penulis.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (Refer to The Effect of Open Access).
References
Basirizadeh, Fatemeh. Harati, Maryam. (2011). The Role of Metaphoric Language and its Analysis in TomStoppard’s the Rosencrantz and Guildenstern are Dead. European Journal of Social Sciences – Volume 25, Number 1.
Camus, Albert. (1961). The Myth of Sisyphus: And Other Essays. Random House.
Cuddon, Ed . J . A . (1979). A Dictionary of Literary Terms London: Penguin.
Esslin, Martin. (1982). The Theatre of the Absurd. London: Pelican.
Gale, Maggie B, and John F. Deeney. (2010). The Routledge Drama Anthology and Sourcebook: From Modernism to Contemporary Performance. London: Routledge. Print.
Innes, Christopher, and Christopher Innes. (1993). Avant Garde Theatre, 1892-1992. London: Routledge. Print.
Krasner, David. (2012). A History of Modern Drama. Library of Congress Cataloging-in-Publication Data Wiley , UK.
Lehmann , Hans-Thies. (2006). Postdramatic Theatre. New York City: Routledge.
Lichte, Erika Fischer. (2002). History of European Drama and Theatre. New York City: Library of Congress Cataloging in Publication Data.
Maurice Maeterlinck, (1904). Théâtre II, Paris, p. 56.
Pronko, Leonard. (1962). Avant-Garde. Berkeiey, California: California UP.
Raoufzadeh, N. Basirizadeh, F. Zaheri birgani, Sh. (2019). Budapest International Research and Critics Institute-Journal. www.bircu-journal.com/index.php/birci
Richard Schechner. (1988). Performance Theory. Routledge.
Szondi, Peter, Michael Hays, and Jochen Schulte-Sasse. (1987). Theory of the Modern Drama: A Critical Edition. Minneapolis: University of Minnesota Press. Print.