荒诞派戏剧
參考資料

↑  鍾明德. . 台北: 書林出版有限公司. 1995  [2013-07-09]. ISBN 9575865162. （原始内容存档于2014-08-21）.
1 2 3  Martin Esslin, The Theatre of the Absurd (Garden City, NY: Doubleday, 1961). (Subsequent references to this ed. appear within parentheses in the text.)
1 2  Martin Esslin, The Theatre of the Absurd, 3rd ed. (New York: Vintage [Knopf], 2004). (Subsequent references to this ed. appear within parentheses in the text.)
↑  Terry Hodgson. The plays of Tom Stoppard: for stage, radio, TV and film.Palgrave Macmillan, 2001. ISBN 1-84046-241-8, ISBN 978-1-84046-241-8.pg.181.
↑  Joel Agee. Dürrenmatt, Friedrich: Friedrich Dürrenmatt.University of Chicago Press, 2006. ISBN 0-226-17426-3, ISBN 978-0-226-17426-6. pg. xi
1 2  Felicia Hardison Londré, Margot Berthold. The history of world theater: from the English restoration to the present. Continuum International Publishing Group, 1999. ISBN 0-8264-1167-3, ISBN 978-0-8264-1167-9. pg. 438
↑  Barbara Lee Horn. Edward Albee: a research and production sourcebook. Greenwood Publishing Group, 2003. ISBN 0-313-31141-2, ISBN 978-0-313-31141-3. pg. 13, 17 29, 40, 55, 232.
↑  Neil Cornwell. The Absurd in Literature. Manchester University Press ND, 2006. ISBN 0-7190-7410-X. pg. 280.
1 2  Esslin, pg. 323-324
↑  J. L. Styan. Modern Drama in Theory and Practice. Cambridge University Press, 1983 ISBN 0-521-29629-3, pg. 125
↑  Samuel Beckett. Endgame: a play in one act, followed by Act without words, a mime for one player. Grove Press, 1958. ISBN 0-8021-5024-1. pg. 18-19.
↑  Esslin, pg. 321-323
↑  Friedrich Dürrenmatt. "Problems of the Theatre". The Marriage of Mr. Mississippi. Grove Press, 1964. ISBN 394171985. pg. 30-31.
↑  Styan, pg. 126
↑  Esslin, pg. 325
↑  Esslin, pg. 330-331
↑  Esslin, pg. 382-385
↑  Neil Cornwell. The absurd in literature. Manchester University Press ND, 2006. ISBN 0-7190-7410-X. pg. 143.
↑  John Freedman. The major plays of Nikolai Erdman: The warrant and The suicide. Routledge, 1995.ISBN 3718655837. xvii.
↑  Esslin, pg. 365-368
1 2  J. L. Styan. The dark comedy: the development of modern comic tragedy. Cambridge University Press, 1968. ISBN 0-521-09529-8. pg. 217.
↑  Annette J. Saddik. Ed. "Experimental Innovations After the Second World War". Contemporary American Drama.Edinburgh University Press, 2007. ISBN 0-7486-2494-5.pg. 28
↑  Worthen, pg. 702
1 2 3 4  Allan Lewis. "The Theatre of the 'Absurd' -- Beckett, Ionesco, Genet". The Contemporary Theatre: The Significant Playwrights of Our Time. Crown Publishers, 1966. pg. 260
1 2  Rupert D. V. Glasgow. Madness, Masks, and Laughter: An Essay on Comedy. Fairleigh Dickinson Univ Press, 1995. ISBN 0-8386-3559-8. pg. 332.
↑  Deborah B. Gaensbauer. The French theater of the absurd. Twayne Publishers, 1991. ISBN 0-8057-8270-2. pg. 17
↑  Jill Fell. Alfred Jarry, an imagination in revolt. Fairleigh Dickinson Univ Press, 2005. ISBN 0-8386-4007-9. pg. 53
↑  Esslin, pag. 346-348
1 2  Raymond Queneau, Marc Lowenthal. Stories & remarks.U of Nebraska Press, 2000 ISBN 0-8032-8852-2, ISBN 978-0-8032-8852-2. pg. ix-x
↑  David Bellos. Georges Perec: a life in words : a biography. David R. Godine Publisher, 1993. ISBN 0-87923-980-8, ISBN 978-0-87923-980-0. pg.596
↑  Esslin, pg. 373.
↑  Cornwell, pg.170
↑  Antonin Artaud The Theatre and Its Double.  Tr. Mary Caroline Richards.  New York: Grove Weidenfeld, 1958., pg. 15-133.
↑  Styan, Modern pg. 128
↑  Saddik, pg. 24-27.
↑  Esslin, pg. 372-375.
↑  Mel Gussow. Theatre on the edge: new visions, new voices. Hal Leonard Corporation, 1998. ISBN 1-55783-311-7. pg. 303.
↑  Eli Rozik. The roots of theatre: rethinking ritual and other theories of origin. University of Iowa Press, 2002. ISBN 0-87745-817-0. pg. 264.
↑  Richard Drain. Twentieth-century theatre: a sourcebook. Routledge, 1995. ISBN 0-415-09619-7. pg. 5-7, 26.
↑  Eugène Ionesco. Present past, past present: a personal memoir. Da Capo Press, 1998. ISBN 0-306-80835-8. pg. 148.
↑  Lamont, pg. 41-42
↑  Esslin, pg. 89
↑  Justin Wintle. Makers of modern culture. Routledge, 2002. ISBN 0-415-26583-5. pg. 3
↑  C. D. Innes. Avant garde theatre, 1892-1992.Routledge, 1993. ISBN 0-415-06518-6. pg. 118.
↑  James Knowlson. Damned to Fame: The Life of Samuel Beckett. London. Bloomsbury Publishing, 1997. ISBN 0-7475-3169-2., pg. 65
↑  Daniel Albright. Beckett and aesthetics.Cambridge University Press, 2003. ISBN 0-521-82908-9. pg. 10
↑  Wesley Barnes. The Philosophy and Literature of Existentialism. Barron's Educational Series, 1968. ISBN 0-7641-9154-3. pg. 31-32.
↑  Roger Hudson, Catherine Itzin, and Simon Trussler. "Ambushes for the Audience: Toward a High Comedy of Ideas". Tom Stoppard in conversation. Ed. Paul Delaney. University of Michigan Press, 1994. ISBN 0-472-06561-0. pg. 58.
↑  Jean-Paul Sartre. "Introduction to The Maids; and Deathwatch" The Maids; and Deathwatch. Grove Press, 1962. ISBN 0-8021-5056-X. pg. 11.
↑  Eugène Ionesco. Present Past, Past Present. Da Capo Press, 1998. ISBN 0-306-80835-8. pg. 63.
↑  Eugène Ionesco. Fragments of a Journal. Tr. Jean Stewart. London: Faber and Faber, 1968. pg. 78.
↑  Rosette C. Lamont. Ionesco's imperatives: the politics of culture. University of Michigan Press, 1993. ISBN 0-472-10310-5. pg. 145.
↑  "Beyond Bourgeois Theatre" 6
↑  Lewis, pg. 275.
↑  Lamont, pg. 67.
↑  Claude Bonnefoy. Conversations with Eugène Ionesco. Trans. Jan Dawson. Holt, Rinehard and Winston, 1971. pg. 122-123.
↑  Knowlson, pg. 319
↑  Knowlson, pg. 325.
↑  Anthony Cronin, Isaac Cronin. Samuel Beckett: the last modernist. Da Capo Press, 1999. ISBN 0-306-80898-6. pg. 231.
↑  Peter Norrish. New tragedy and comedy in France, 1945-1970.Rowman & Littlefield, 1988. ISBN 0-389-20746-2. pg. 107
1 2 3 4 5 6 7 8 9 10 11 12  Felicia Hardison Londré, Margot Berthold. The history of world theater: from the English restoration to the present. Continuum International Publishing Group, 1999. ISBN 0-8264-1167-3. pg. 428.
↑  Bill Marshall, Cristina Johnston. France and the Americas: culture, politics, and history : a multidisciplinary encycopledia. ABC-CLIO, 2005. ISBN 1-85109-411-3. pg. 1187.
↑  David Thatcher Gies. The Cambridge companion to modern Spanish culture. Cambridge University Press, 1999. ISBN 0-521-57429-3. pg. 229
↑  Gabrielle H. Cody, Evert Sprinchorn. The Columbia encyclopedia of modern drama. Columbia University Press, 2007. ISBN 0-231-14424-5. pg. 1285.
↑  Randall Stevenson, Jonathan Bate. The Oxford English Literary History: 1960-2000: The Last of England?. Oxford University Press, 2004. ISBN 0-19-818423-9. pg. 356.
↑  Stevenson, pg. 358.
↑  Don Shewey. Sam Shepard. Da Capo Press, 1997. ISBN 0-306-80770-X. pg. 123, 132.
↑  C. W. E. Bigsby. Modern American drama, 1945-2000. Cambridge University Press, 2000. ISBN 0-521-79410-2. pg. 124
↑  Bigsby, pg. 385.
↑  Cody, pg. 1343
↑  Gaetana Marrone, Paolo Puppa, Luca Somigli. Encyclopedia of Italian literary studies. CRC Press, 2006. ISBN 1-57958-390-3. pg. 335
↑  Robert Cohen. Understanding Peter Weiss. Univ of South Carolina Press, 1993. ISBN 0-87249-898-0. pg. 35-36.
1 2  Marshall Cavendish. World and Its Peoples: Eastern and Southern Asia. Marshall Cavendish, 2007. ISBN 0-7614-7631-8. pg. 408.
↑  William M. Hutchins. Tawfiq al-Hakim: a reader's guide. Lynne Rienner Publishers, 2003. ISBN 0-89410-885-9. pg. 1, 27.
↑  Linda Ben-Zvi. Theater in Israel. University of Michigan Press, 1996. ISBN 0-472-10607-4. pg. 151.
↑  Gies, pg. 258
↑  Anna Klobucka. The Portuguese nun: formation of a national myth. Bucknell University Press, 2000. ISBN 0-8387-5465-1. pg. 88.
↑  Kalina Stefanova, Ann Waugh. Eastern European Theater After the Iron Curtain.Routledge, 2000. ISBN 90-5755-054-7. pg. 34
↑  Enoch Brater. "After the Absurd". Around the Absurd: Essays on Modern and Postmodern Drama. Ed. Enoch Brater and Ruby Cohn. University of Michigan Press, 1990. ISBN 978-0-472-10205-1. pg. 293-301.
↑  David Mamet. Glengarry Glen Ross. Grove Press, 1984. ISBN 0-394-53857-9. pg. 2
↑  Michael Hinden. "After Beckett: The Plays of Pinter, Stoppard, and Shepard". Contemporary Literature. Fall 1986, Vol. 27, Issue 3. pg. 408.
↑  Neil Cornwell. The absurd in literature. Manchester University Press ND, 2006. ISBN 0-7190-7410-X, 9780719074103. pg. 296.
↑  Klaus Stierstorfer. Beyond postmodernism: reassessments in literature, theory, and culture. Walter de Gruyter, 2003 ISBN 3-11-017722-6, ISBN 978-3-11-017722-0. pg. 294.
↑  Richard Rankin Russell. Martin McDonagh: a casebook. Routledge, 2007. ISBN 0-415-97765-7, ISBN 978-0-415-97765-4. pg. 3.
↑  Lisa Fitzpatrick. "Language Games: The Pillowman, A Skull in Connemara, and Martin McDonagh's Hiberno-English". The Theatre of Martin McDonagh: A World of Savage Stories. ed. Lilian Chambers and Eamonn Jordan. Dublin: Craysfort Press, 2006. ISBN 1-904505-19-8. pg. 141, 150-151
↑  Styan, Dark 218
↑  Saddik, pg. 29
↑  Norrish, pg. 2-8.
↑  Esslin, pg. 24
↑  Esslin, pg. 20
↑  Esslin, pg. 21
↑  Ionesco in Esslin, pg. 23
↑  Watt and Richardson 1154
↑  Lamont, pg. 72
↑  .   [2014-08-15]. （原始内容存档于2013-06-22）.
↑  Anthony Cronin, Isaac Cronin. Samuel Beckett: the last modernist. Da Capo Press, 1999. ISBN 0-306-80898-6. pg. 424.
↑  Dave Bradby. Modern French Drama: 1940-1990. Cambridge University Press, 1991. ISBN 0-521-40843-1. 58.
1 2  Esslin, pg. 402
↑  Katherine H. Burkman. The dramatic world of Harold Pinter: its basis in ritual. Ohio State University Press, 1971 ISBN 0-8142-0146-6, ISBN 978-0-8142-0146-6. pg. 70-73.
↑  Roger Alan Crockett. Understanding Friedrich Dürrenmatt.Univ of South Carolina Press, 1998. ISBN 1-57003-213-0, ISBN 978-1-57003-213-4. pg.81
↑  Leonard Cabell Pronko. Avant-garde: the experimental theater in France. University of California Press, 1966. pg. 96-102.
↑  Harold Bloom. Bloom's Major Dramatists: Eugène Ionesco. 2003. Infobase Publishing. p106-110.
↑  Robert B. Heilman. The Ghost on the Ramparts. University of Georgia Press, 2008 ISBN 0-8203-3265-8, ISBN 978-0-8203-3265-9. pg. 170-171.
1 2 3  Bradby, Modern pg. 59
↑  Victor L. Cahn. Beyond Absurdity: The Plays of Tom Stoppard. London: Associated University Presses, 1979. pg. 36-39. Cahn asserts that though Stoppard begain writing in the Absurdist mode, in his increasing focus on order, optimism, and the redemptive power of art, Stoppard has moved "beyond" Absurdism, as the title implies.
↑  Ackerley, pg. 334, 465, 508
↑  Alan Astro. Understanding Samuel Beckett. Univ of South Carolina Press, 1990. ISBN 0-87249-686-4, ISBN 978-0-87249-686-6. pg. 116.
1 2 3  Hinden, pg. 401.
↑  Leslie Kane. The language of silence: on the unspoken and the unspeakable in modern drama. Fairleigh Dickinson Univ Press, 1984. ISBN 0-8386-3187-8. pg. 159-160
↑  Lisa M. Siefker Bailey, Bruce J. Mann. Edward Albee: A Casebook. 2003. Routledge. pg. 33-44.
↑  Esslin, pg. 26
↑  Edward Albee, Philip C. Kolin. Conversations with Edward Albee. Univ. Press of Mississippi, 1988. ISBN 0-87805-342-5. pg. 189.
↑  Leonard Cabell Pronko. Avant-Garde. University of California Press, 2003. pg.155-156
↑  Jeanette R. Malkin. Verbal Violence in Contemporary Drama: From Handke to Shepard. Cambridge University Press, 1992. ISBN 0-521-38335-8. pg. 40.
↑  Styan, Dark pg. 221
↑  Erich Segal. The Death of Comedy. Harvard University Press, 2001. ISBN 0-674-01247-X pg. 422.
↑  Saddik, pg. 30
↑  Guido Almansi, Simon Henderson. Harold Pinter. Routledge, 1983. ISBN 0-416-31710-3. pg. 37.
↑  Kane, pg. 17, 19
↑  Saddik, pg. 32
↑  Claude Schumacher. Encyclopedia of Literature & Criticism. 1990. Routledge. pg. 10.
↑  Sydney Homan. Beckett's theaters: interpretations for performance. Bucknell University Press, 1984. ISBN 0-8387-5064-8. pg. 198.
↑  Kane, pg. 132, 134
↑  Katherine H. Burkman. The dramatic world of Harold Pinter: its basis in ritual. Ohio State University Press, 1971. ISBN 0-8142-0146-6, ISBN 978-0-8142-0146-6. pg. 76-89
↑  Marc Silverstein. Harold Pinter and the language of cultural power. Bucknell University Press, 1993.ISBN 0-8387-5236-5, ISBN 978-0-8387-5236-4. pg. 76-94.
↑  Stephen James Bottoms. The Cambridge Companion to Edward Albee. Cambridge University Press, 2005. ISBN 0-521-83455-4. pg. 221.
↑  Edward Albee. A delicate balance: a play in three acts. Samuel French, Inc., 1994. ISBN 0-573-60792-3. pg. 31.
↑  Les Essif. Empty figure on an empty stage: the theatre of Samuel Beckett and his generation. Indiana University Press, 2001. ISBN 0-253-33847-6. pg. 1-9
↑  Alice Rayner. Ghosts: death's double and the phenomena of theatre. U of Minnesota Press, 2006. ISBN 0-8166-4544-2. pg. 120.
↑  Morris Beja, S. E. Gontarski, Pierre A. G. Astier. Samuel Beckett--humanistic perspectives.Ohio State University Press, 1983. ISBN 0-8142-0334-5. pg. 8
↑  Alan Astro. Understanding Samuel Beckett. Univ of South Carolina Press, 1990. ISBN 0-87249-686-4. pg. 177.
↑  Ruby Cohn. A Beckett Canon. University of Michigan Press, 2001. ISBN 0-472-11190-6pg. 298, 337.
↑  Lamont, pg. 101
↑  Justin Wintle. The Makers of Modern Culture. Routledge, 2002. ISBN 0-415-26583-5. pg. 243.
↑  Pronko, pg. 157.
↑  June Schlueter. Metafictional Characters in Modern Drama. Columbia University Press, 1979. ISBN 0-231-04752-5. pg. 53.
↑  Peter K. W. Tan, Tom Stoppard. A stylistics of drama: with special focus on Stoppard's Travesties. NUS Press, 1993. ISBN 9971-69-182-5, ISBN 978-9971-69-182-0.
↑  Katherine H. Burkman. Myth and ritual in the plays of Samuel Beckett. Fairleigh Dickinson Univ Press, 1987. ISBN 0-8386-3299-8. pg. 24.
↑  Samuel Beckett. Endgame: a play in one act, followed by Act without words, a mime for one player.Grove Press, 1958. ISBN 0-8021-5024-1. pg. 1.
↑  Andrew K. Kennedy. Samuel Beckett. Cambridge University Press, 1989. ISBN 0-521-27488-5. pg. 48.