The concept of "absurd world" in the works of outstanding French playwrights of the first half of the 20th century. Towards the statement of the question

Abstract

This article is devoted to the work of two luminaries of the French drama of the absurd – Samuel Beckett and Eugene Ionesco. It reveals the theory of the absurd by Samuel Beckett and Eugene Ionesco. The article has a plan of content and a plan of expression. The first one is mainly represented by former Soviet criticism, which, as follows from the materials of the work, proceeded from the primacy of an allegedly cheap and primitive plot. In them, the paradox itself was analyzed as something alien to great and real art. The second plan is more sober and rational. Throughout the course of the study, it was shown that the theory of the absurd by Samuel Beckett and Eugene Ionesco cannot be indisputably understood as not requiring explanation and well-known reservations. The playwrights themselves did not abandon logic at all, they only sought it throughout their creative activity precisely in anti-logic. Hence the paradox of the French playwrights. The relevance of the chosen topic consists of several problems. Firstly, in the world philological science, it is on the material of the dramaturgy of these two writers that there are still many "white spots" that require further scientific research. Secondly, it attracts modern scientists with its unusual architectonics. The article highlights the main constituent elements of these dramas. That is, it was primarily about mixing the base with the sublime, the comic with the tragic, dividing the dramas of two writers into many diverse episodes. The dynamics of parallel actions in antidramas is noticeable, which unfold as side effects to the main thread of the plot development. Certain textual layers are derived, directly based on the quotations of the cited scientists. A clash of different points of view is given. At the same time, it is obvious that the dramas of the absurdity of these writers were aimed at modernity with their sharp edge. The relevance of the chosen topic consists of several problems. Firstly, in the world philological science, it is on the material of the dramaturgy of these two writers that there are still many "white spots" that require further scientific research. Secondly, it attracts modern scientists with its unusual architectonics. The article highlights the main constituent elements of these dramas. That is, it was primarily about mixing the base with the sublime, the comic with the tragic, dividing the dramas of two writers into many diverse episodes. The dynamics of parallel actions in anti-dramas is noticeable, which unfold as side effects to the main thread of the plot development. Certain textual layers are derived, directly based on the quotations of the cited scientists. A clash of different points of view is given. At the same time, it is obvious that the dramas of the absurdity of these writers were aimed at modernity with their sharp edge.