الفهرس 
IntroductionOnly 14 pages are availabe for public view
 |  | from | 141 |  |  |
| | | from | 141 | | |
Abstract
The appearance of the Theatre of the Absurd is a direct result of the political and social circumstances of society, in addition to the philosophical views of the time. This is evident in the timing and the relation between the Theatre of the Absurd in Europe and World War II, in the United States and the war of Vietnam and the Scandal of Watergate, and finally in Egypt and the defeat of 1967. Although it was a European movement, it could significantly affect the Egyptian Theatre along with Egypt’s political and social affairs. Since Eugene Ionesco is one of the most distinguished dramatists in the Theatre of the Absurd, his influence is tracked on three different Egyptian dramatists. Tawfik Al Hakim decided to write Tree Climber as an absurdist play for artistic and academic reasons to show that Egyptian scholars can depict all new western literary trends. His play Tree Climber (1958) turns to have many aspects in common with Ionesco’s The Bald Soprano (1950). Later in the sixties, Salah Abdel Sabour watched The Chairs (1952) by Ionesco and he felt that this form of theatre was the best to express the feelings of modern Man. Comparing Abdel Sabour’s Night Traveller (1968) and Ionesco’s Victims of Duty (1953) shows that both have many themes and techniques in common. Last, Naguib Sorour who did not believe in the Theatre of the Absurd in the first place, turned out to be the living proof that this theatre reflects the real state of the artist and society. He was a sensitive artist who was severely depressed after Egypt’s defeat in 1967. Although the Theatre of the Absurd did not appeal to him, Sorour’s Crosswords (1969) proves to be an absurdist play itself. It has dramatic techniques and aspects that are similar to Ionesco’s The Chairs.