Society & Culture

The play, about being stuck, resonated with inmates. Critics noted that the incarcerated audience empathized with its hopeless characters much more than those at the show’s North American premiere in Miami, who’d walked out in disgust.

Samuel Beckett was an admirer of art and, while touring German art galleries in 1937, saw Caspar David Friedrich’s Two Men Contemplating the Moon. A directorial notebook for the original production of “Waiting for Godot” notes that the end of the play’s first act was inspired by the 19th-century work.

Although the Theater of the Absurd was primarily a 20th-century trend, a similar kind of existentialist-minded comedy still exists in popular culture. Films like “Everything Everywhere All At Once” and television shows like “BoJack Horseman” tackle the same issues that existentialist thinkers like Sartre, Beauvoir, and Camus explored, transforming those profound questions into thought-provoking and crowd-pleasing works of comedy.

The play, originally staged in 1953, is notorious for its lack of action. For the most part, its two principal characters, Vladimir and Estragon, spend the majority of the play wondering whether a mysterious Godot will ever appear. By the end, Godot has still not arrived, yet Vladimir and Estragon do not move, a choice that reflects the existential notion that humans often hope in vain for meaning that does not exist.

In the 1950s, playwrights horrified by the events of World War II and inspired by existentialism’s response to it began staging plays that brought many of the philosophy's ideas to center stage. Critic Martin Esslin coined the term “Theater of the Absurd” in 1960, citing the plays of Samuel Beckett, Arthur Adamov, and Eugene Ionesco as indicative of a new theatrical style that rejected realism and standard plot.

The two were close friends, sometimes collaborating throughout the 1940s, but the release of Camus’ 1951 novel, “The Rebel,” led to a schism. Camus’ novel suggested that revolutionary violence was abhorrent, and he personally believed communism was a delusion. Sartre, on the other hand, thought communism would allow for the freedom he espoused in his philosophical texts and published a scathing review of Camus’ book in his literary journal. Their public split was widely reported in French newspapers, reflecting an ongoing rift among the post-World War II intelligentsia.

During a unit on existentialist literature and philosophy, one teacher at Massachusetts’ Phillips Academy asked students to surrender their cell phones to test Kierkegaard’s thoughts on the danger of conformity and Sartre’s belief that humans are “condemned to be free.” Many of them were surprised to find how liberated they felt once they left behind social media.

If you’re looking for a starting point for diving into existentialist thought, this is a great resource. Its titles are not exactly obscure—Albert Camus’ “The Stranger,” Franz Kafka’s “The Trial,” and Søren Kierkegaard’s “Either/Or” are among the most famous works in Western literature—but the list provides some digestible context for each text, which will help you decide the best place to begin your journey.

Existentialism isn’t confined to philosophical texts. Some of the movement’s figureheads, like Albert Camus and Jean-Paul Sartre, were also novelists. Christina Howells, Professor of French at the University of Oxford, suggests this is because existentialism, as a philosophy, requires human stories to be fully understood, and literature makes the experience of the human condition more present and immediate.

“The Father of Existentialism” published over 40 texts and 40 articles during his life and used several pen names throughout them. The pseudonyms allowed him to present relevant opinions in a relatable, first-person manner without the reader believing that Søren Kierkegaard earnestly held them.