DEADLINE SEPTEMBER 30TH
For a time, the Absurd was one of the chief literary movements of the day. When Martin Esslin published The Theatre of the Absurd (1960)he would frame various emerging playwrights such as Ionesco, Beckett and Pinter under one label. Though they would reject the term, the notion of the Absurd stuck and would invite a flurry of criticism from the academic world. Interest in the Absurd, however, was like a match, burning with intensity before fizzling out just as suddenly. Why was this the case? Did new trends push the Absurd to the side? Were all of its possible avenues explored? Was the Absurd limited to its temporal context? Or perhaps it evolved into novel concepts such as post-humanism?