This is where the class system most resembled a theatre of the absurd, where maids became invisible by turning their faces to the wall as their master walked by.
这就是阶级体系与荒诞派戏剧最为相似的部分，一看到主人，女仆们就要扭头脸贴墙变成隐形人。
| 单词 | Theatre of the Absurd |
| 释义 |
Theatre of the Absurd
原声例句
经济学人-文艺 This is where the class system most resembled a theatre of the absurd, where maids became invisible by turning their faces to the wall as their master walked by. 这就是阶级体系与荒诞派戏剧最为相似的部分，一看到主人，女仆们就要扭头脸贴墙变成隐形人。 TED-Ed（视频版） This was a key feature of his trademark uneven tempo and black humor, which became popular throughout the Theatre of the Absurd. 这是他标志性的不均匀节奏和黑色幽默的一个关键特征，在整个荒诞派剧场中广受欢迎。 TED-Ed（视频版） Such cryptic dialogue and circular reasoning are key features of the Theatre of the Absurd, a movement which emerged after the Second World War and found artists struggling to find meaning in devastation. 这种神秘的对话和循环推理是荒诞剧场的主要特征，这场运动是在第二次世界大战后兴起的，艺术家们努力在毁灭中寻找意义。
中文百科
荒诞派戏剧荒诞派戏剧是指1940年代至1960年代主要兴起于欧洲的一个戏剧流派。“荒诞派戏剧”一词首先由马丁·艾斯林提出，他把它用作1961年出版的同名文学理论著作的标题。艾斯林认为这些剧作家的作品是加缪在《西绪福斯神话》中提出的哲学观念——“人生本来就是没有任何意义的”的文学表达。这些戏剧的共同特点是：类似杂耍，包含可怖的或悲剧的形象，人物处于无望境地、被迫重复无意义的举动，对白充满陈词滥调、文本游戏和废话，情节重复出现、或荒谬的展开，对现实主义的滑稽模仿或消解。主要代表有塞缪尔·贝克特、欧仁·尤内斯库、哈罗德·品特、让·热内、爱德华·阿尔比、瓦茨拉夫·哈维尔等。
英语百科
Theatre of the Absurd 荒诞派戏剧The Theatre of the Absurd (French:théâtre de l'absurde [teɑtʁ(ə) də lapsyʁd]) is a post World War II designation for particular plays of absurdist fiction written by a number of primarily European playwrights in the late 1950s, as well as one for the style of theatre which has evolved from their work. Their work focused largely on the idea of existentialism and expressed what happens when human existence has no meaning or purpose and therefore all communication breaks down, in fact alerting their audiences to pursue the opposite. Logical construction and argument gives way to irrational and illogical speech and to its ultimate conclusion, silence. |
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