Re-entering the Absurd in the Twenty First Century: A Study in Richard Nelson's Pandemic Trilogy The Apple Family

Abstract

Since the Middle Ages, drama has started as a simple wagon in the market-place with unprofessional actors who acted occasionally to serve religion\the Church. By later centuries, dramatic actions steadily developed; and their growing popularity encouraged the construction of theatre buildings to host the increasing numbers of the audiences. Hence the simple facts about drama have therefore been settled: no audience or drama student can ever imagine these facts would ever change, until Covid-19 has unexpectedly undermined the drama simple facts as well as radically changed that. Concerning theatre, the current situations, however, have forced drama to evolve without actors appearing physically onstage. As a communal act, the theatre can hardly stop: human communication is one haven of man to escape one's loneliness, but such need is not expected to be part of man's surroundings. Hence, when drama resumes work, it does so cautiously. Richard Nelson's postmodern play, The Apple Family: A Pandemic Trilogy, is a play that is acted through Zoom screens, utilizing the cyberspace instead ofم the theatre. The curtains are replaced by a "sign out" or the dimming of the screen of the character. Characters chat through those screens, no more "aside" or audience-actor interaction. Theatre has become cinema-like in that it lost the physical existence of both actors and audience. There is no action as the plays remind us of Becket, Ionesco and Pinter. The post-war depression and dehumanization that led to the emergence of the absurd is happening all over again with COVID-19.