چکیده:
This article aims to address the extent of the influence of literary and dramatic manifestations of the Theatre of the Absurd on the style of Iranian playwriting. Gholamhossein Sa'edi is one of the well-known Iranian playwrights who has employed some of the most important techniques of modern theatre in his writing style. In this research, the author seeks to show how the concept of absurdity is reflected in the avant-garde plays of Gholamhossein Sa'edi; an author who has been directly and indirectly influenced by this type of theatre. Furthermore, based on the most important indicators of the Theatre of the Absurd, an analysis will be provided regarding the extent and manner of Sa'edi's plays' influence from this kind of theatre and both traditional and modern playwrights. Sa'edi's influence from modern playwrights has been greater than from traditionalists, which indicates Sa'edi's synchronicity with them in expressing everyday issues and global concerns in theatre.
خلاصه ماشینی:
In this research, the author seeks to demonstrate how the concept of absurdity is reflected in the avant-garde plays of Gholamhossein Saedi; a writer who has been directly and indirectly influenced by this type of theater.
Writers such as Samuel Beckett, Jean Genet, Harold Pinter, Eugene Ionesco, Arthur Adamov, and Fernando Arrabal stepped forward in the progress and expression of the Theater of the Absurd, creating memorable and eternal plays such as "The Birthday Party," "Rhinoceros," "Waiting for Godot," and "Endgame," which were unique in their own right.
These characters, like the human characters in Saedi's story "New Power" and the plays "Hand Over Hand" and "The Deceptive Night Watchman," due to the effect of disbelief in everything, even toward themselves, spend their time in futility, loss of identity, and {E-Saedi, Gholamhossein (1354).
E} Saedi has been less [traditional] than modern playwrights; because instead of employing the concepts and ideas of past writers who mostly focused on the bourgeoisie and realistic thoughts, he has addressed the issues and problems of the modern era; including the sufferings of the people, economic problems, poverty, social corruption, psychological damage and the loss of identity of individuals, unsuitable ideologies, the loss of humanity and human alienation, suicide, anxieties, and fears.
The emergence of a new concept called "suicide" in the Theater of the Absurd Saedi's early works, like the works of Albert Camus (1913-1930 AD), are an analysis of man and human thought.
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