<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>Wole Soyinka and Samuel Beckett apparently occupy distinct places in the literary space, in all ramifications. Specifically, while the former’s dramaturgy is definable within the context of the traditional convention of playwriting, otherwise known as well-made plays, the latter is inherently non-conformist in this regard. Hence, the effort in this paper was to locate a nexus in their writings, using two of their plays, <italic>Death and the King’s Horseman</italic> and <italic>Endgame</italic>, respectively. Theatre of the Absurd, as an offshoot of existentialism, provided the ground for the critical intersection of philosophical and ideological geometry of the two plays. The critical paradigm essentially relied on the interconnectivity of absurdist writings and existentialist thoughts, as the holistic context which fundamentally defines modernism, to assess what is conceived as modernist theatricality in the two plays. Building on the modernists’ interrogation of man’s existence and essence in the world in which existential meaning is presumably lost, the paper concluded that the two texts are largely intoned with modernist thoughts, regardless of their formal or structural distinction. It arrived at this by placing particular emphasis on the playwrights’ attempts, in these works, at demanding a more spontaneous response to the question of the essence of the individual and his/her place in the universe in which meaning in existence, in the modernist sense, is believed to have been lost.</p>
</abstract>

Wole Soyinka and Samuel Beckett apparently occupy distinct places in the literary space, in all ramifications. Specifically, while the former’s dramaturgy is definable within the context of the traditional convention of playwriting, otherwise known as well-made plays, the latter is inherently non-conformist in this regard. Hence, the effort in this paper was to locate a nexus in their writings, using two of their plays, Death and the King’s Horseman and Endgame, respectively. Theatre of the Absurd, as an offshoot of existentialism, provided the ground for the critical intersection of philosophical and ideological geometry of the two plays. The critical paradigm essentially relied on the interconnectivity of absurdist writings and existentialist thoughts, as the holistic context which fundamentally defines modernism, to assess what is conceived as modernist theatricality in the two plays. Building on the modernists’ interrogation of man’s existence and essence in the world in which existential meaning is presumably lost, the paper concluded that the two texts are largely intoned with modernist thoughts, regardless of their formal or structural distinction. It arrived at this by placing particular emphasis on the playwrights’ attempts, in these works, at demanding a more spontaneous response to the question of the essence of the individual and his/her place in the universe in which meaning in existence, in the modernist sense, is believed to have been lost.

Existential Dualism and Absurdity: Modernist Theatricality in Wole Soyinka’s <italic>Death and the King’s Horseman</italic> and Samuel Beckett’s <italic>Endgame</italic>

Prague Journal of English Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Existential Dualism and Absurdity: Modernist Theatricality in Wole Soyinka’s  and Samuel Beckett’s 

Wole Soyinka and Samuel Beckett apparently occupy distinct places in the literary space, in all ramifications. Specifically, while the former’s dramaturgy is...

Existential Dualism and Absurdity: Modernist Theatricality in Wole Soyinka’s Death and the King’s Horseman and Samuel Beckett’s Endgame

Pubblicato online: 13 set 2022

Pagine: 119 - 134

DOI: https://doi.org/10.2478/pjes-2022-0007

Parole chiave
Wole Soyinka, Samuel Beckett, Existential Dualism, Absurdity, Modernism

© 2022 Issa Omotosho Garuba, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Existential Dualism and Absurdity: Modernist Theatricality in Wole Soyinka’s Death and the King’s Horseman and Samuel Beckett’s Endgame

Pubblicato online: 13 set 2022

Pagine: 119 - 134

DOI: https://doi.org/10.2478/pjes-2022-0007

Parole chiaveWole Soyinka, Samuel Beckett, Existential Dualism, Absurdity, Modernism

© 2022 Issa Omotosho Garuba, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Parole chiave
Wole Soyinka, Samuel Beckett, Existential Dualism, Absurdity, Modernism