A DISSERTATION/ THESIS TITLED

A Structural Study of New Theatrical Sign in the Plays of Jean-Paul Sartre,

Samuel Beckett and Eugene Ionesco

NAME NoorulBasar

SESSION 2015–2017

ROLLNO. 0165–7–2015

DEPARTMENT English

G C UNIVERSITY LAHORE
A Structural Study of New Theatrical Sign in the Plays of Jean-Paul Sartre,
Samuel Beckett and Eugene Ionesco

Submitted to G C University Lahore

in partial fulfillment of the requirements

for the award of degree of

M.PHIL

IN

ENGLISH

By

NAME NoorulBasar

SESSION 2015–2017

ROLLNO. 0165–7–2015

DEPARTMENT English

G C UNIVERSITY LAHORE
 DECLARATION

I, Mr. Noorul Basar, Roll No. 0165-7-2015, student of M. Phil in the subject of English, session

2015-2017, hereby declare that the matter printed in the thesis “A Structural Study of New

Theatrical Sign in the Plays of Jean-Paul Sartre, Samuel Beckett and Eugene Ionesco” is

my own work and has not been printed, published and submitted as research work, thesis or

publication in any form in any University, Research Institution etc in Pakistan or abroad.

Dated: ________________ _______________________

Signatures of Deponent
 RESEARCH COMPLETION CERTIFICATE

Certified that the research work contained in this thesis “A Structural Study of New Theatrical

Sign in the Plays of Jean-Paul Sartre, Samuel Beckett and Eugene Ionesco” has been carried

out and completed by Mr. Noorul Basar, Roll No. 0165-7-2015, under my supervision.

___________________ ________________________
Date Dr. Sajjad Ali Khan

(Supervisor)

Submitted Through

_____________________ ________________________
Mr. Siddique Awan Controller of Examination
Chairperson, G C University Lahore.
Department of English
G C University Lahore.
 ACKNOWLEDGMENTS

I am highly thankful to my supervisor, Dr. Sajjad Ali Khan, for his guidance, kindness and

encouragement. I came to him with no prior experience in the field of research. His encouraging

words and support enabled me to carry out my work properly. Without his guidance, this work

would have been really tough for me. I thank Sir Riaz Hussain, Lecturer at ICP, for his honest

support, appreciation and encouragement. He was always there to help me. I am indebted to

Aasim H. Lodhi for his companionship, discussions and help. In his company, I not only learnt

research skills but managed to stay in Lahore as well. I am grateful to Dr. Amjad Saleem,

Assistant Proffesor at UOP, for his encouragement and suggestions regarding my project.

Above all, I owe all my achievements to my patient parents who encouraged me to continue my

studies even when my family conditions did not favor me.

 Abstract

This study identifies, explores and examines the theatrical sign in the selected plays of Jean-Paul

Sartre, Samuel Beckett and Eugene Ionesco in terms of the differential and oppositional relations

that exist among the theatrical and dramatic elements. The theatrical sign contains the signifier

(dramatic performance as a whole) and the signified (the collective consciousness of the public)

that gives a philosophy or meaning. Following the basic concepts of Saussurean structural

linguistics, the relations that exist among the components of a sign are differential and

oppositional. The literary movements and philosophies―existentialism and

phenomenology―that actually pervade the very content of these plays also appear to be similar

to structuralism in many respects when studied from a structural perspective. The study

maintains that the theatrical sign that it explores in the plays has a meaning. Therefore, Esslin’s

and certain other critics’ view that the plays present nothing more than the absurd human

situation is questioned and contested. There are critics like Michael Y. Bennet who disagree to

Esslin’s views about the plays by proposing that the plays do have a philosophy or meaning.

These critics derive a philosophy from the plays, but their views fail to cover all the aspects of

these plays. The form of these plays is such that they need to be studied individually with respect

to the total dramatic and theatrical elements found in them. This study, therefore, derives the

philosophy or meaning from the selected plays of the selected playwrights in terms of the total

structural and differential relations. It proposes that the plays cannot be interpreted properly

unless they are studied with respect to the total dramatic elements. Since the theoretical

framework for this study is structuralism or the differential system of meaning-making, the study

uses the phenomenological and existential concepts akin in structure to the concepts propounded

by Saussure. This study employs Close Textual Analyses as a research method.

 Table of Contents

Acknowledgement

Abstract

Introduction…………………………………………………………………………………1

0.1 Background to the Study…………………………………………………..………..1

0.2 Introducing the playwrights/plays and rationale for the study……………………...4
0.3 Movements related to the study………………………………………………..……9
0.3.1 Phenomenology and Existentialism………………………………………...12
0.3.2 Dada and Surrealism………………………………………………………..18
0.4 Scope and Objectives of the Study……..……………………………………….….23
0.5 Research Methodology….………………………………………………..……........25
0.6 Theoretical Framework………………………………………………...…………...25
0.7 Literature Review…….……………………………………………...………….......27
0.8 Structure of The Study…………………………………………..……………….…41

Chapter I: Theatrical Sign: The Relational and Differential Pattern of Meaning in No Exit..43

1.0 Brief Summary………………………………………………………………..…..43

1.1 Theoretical Base……….……………………………………………….…………44
1.2 The Signifier ………….……………………………………………….….…..….45
1.3 The Signified……..…………………………………………………….….….….60

Chapter I: Theatrical Sign: ‘Order in Disorder’ in Endgame and The Chairs…...………...66

2.0 Brief Summaries……………………………………………………..……....…66

2.1 Theoretical Base…………………………………………………….………….69
2.2 The Signifier…………………………………………………………….………71
2.3 The Signified………………………………………………………..….……….99

Conclusion……………………………………………………………………….……..….106

Works Cited………………….…………………………………………………..…….…..118