The plays of Samuel Beckett, Arthur Adamov, and Eugène Ionesco have been performed with astonishing success in France, Germany, Scandinavia, and the English-speaking countries. This reception is all the more puzzling when one considers that the audiences concerned were amused by and applauded these plays fully aware that they could not understand what they meant or what their authors were driving at. At first sight these plays do, indeed, confront their public with a bewildering experience, a veritable barrage of wildly irrational, often nonsensical goings-on that seem to go counter to all accepted standards of stage convention. In these plays, some of which are labeled “anti-plays,” neither the time nor the place of the action are ever clearly stated. (At the beginning of Ionesco's The Bald Soprano the clock strikes seventeen.) The characters hardly have any individuality and often even lack a name; moreover, halfway through the action they tend to change their nature completely.
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