Semantic Components of Dramatic and Artistic Structure in Texts of the theater of the absurd  Between  Beckett and Olby - A Comparative Study -

Abass, Sheren Mostafa Elsayd

doi:10.21608/jedu.2021.69487.1305

Semantic Components of Dramatic and Artistic Structure in Texts of the theater of the absurd Between Beckett and Olby - A Comparative Study -

Author

Sheren Mostafa elsayd Abass

Department of Basic Sciences, Faculty of Early Childhood Education, University of Alexandria, Egypt

10.21608/jedu.2021.69487.1305

Abstract

the thought of its creators, it builds a thought and a trend that is in line with the era from which it emerged and expressed, and soon transformations occur, destabilizing what was certain, and another thought prevails in search of renewal, a new creator that is compatible with With new developments. If the Aristotelian certainty was the most stable in a great theatrical era, Aristotle established it in his book The Art of Poetry, and it remained for centuries the measurement and the standard, through which the quality or failure of the theatrical text is measured according to the extent to which the author adheres to the Aristotelian certainty in the playwriting, until the world is in changes that have not Were not taken into account, and Aristotelian writing became inadequate for the course of successive ages, and was unable to express the suffering of man in In the
The study was chosen on the text (Happy Days) by Samuel Beckett, (The SandBox) by Edward Olby, to study the similarity in the features of absurd philosophical thought, despite the difference in time, place and ideologies according to the quadratic criticism.

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