Edward Albee and Existentialist Theatre: Reality and Illusion in Who’s Afraid of Virginia Woolf?

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dc.contributor.authorAshmawy, Merve Feryal
dc.date.accessioned2025-03-23T19:09:38Z
dc.date.available2025-03-23T19:09:38Z
dc.date.issued2024
dc.departmentSinop Üniversitesi
dc.description.abstractThis article underscores that Edward Albee’s 1962 play Who’s Afraid of Virginia Woolf? is notable for its capacity to scrutinize social norms and ideals, with its potential libertarian approach leaving a shocking impact on the audience. The play revolves around a night involving the middle-aged couple George and Martha and the young couple Nick and Honey. It primarily explores the intricate dynamics between couples, the concept of reality, and the absurdity of existence, delving into the depths of human psychology by addressing the characters’ past traumas and disappointments. Communication breakdowns and conflicts among the characters accentuate the fragility of human relationships, with disappointment being a central theme that underscores the disparity between past expectations and reality. The play, analyzed within the framework of existentialist theatre, provides a thorough examination of individual freedom, responsibility, and existential experience, focusing on the fundamental tenets of existentialist philosophy. It addresses existentialist themes by enabling characters to confront their own existential realities and understand their identities. The intricate relationship between Martha and George reveals the fine line between reality and illusion, and the dissolution of this illusion provides the audience with the opportunity to explore the inner worlds of the characters. In this context, the play emerges as a potent dramatic work that underscores the complexity of human relations through its engagement with existentialist themes. The play has made a significant contribution to American theatre, influencing modern dramatic structures and securing a prominent position in the literary world.
dc.identifier.doi10.31465/eeder.1429895
dc.identifier.endpage266
dc.identifier.issn2602-4616
dc.identifier.issue2
dc.identifier.startpage253
dc.identifier.trdizinid1275327
dc.identifier.urihttps://doi.org/10.31465/eeder.1429895
dc.identifier.urihttps://search.trdizin.gov.tr/tr/yayin/detay/1275327
dc.identifier.urihttps://hdl.handle.net/11486/3420
dc.identifier.volume8
dc.indekslendigikaynakTR-Dizin
dc.institutionauthorAshmawy, Merve Feryal
dc.language.isoen
dc.relation.ispartofEdebî Eleştiri Dergisi
dc.relation.publicationcategoryMakale - Ulusal Hakemli Dergi - Kurum Öğretim Elemanı
dc.rightsinfo:eu-repo/semantics/openAccess
dc.snmzKA_TR_20250323
dc.subjectExistentialism
dc.subjectReality
dc.subjectIllusion
dc.subjectEdward Albee.
dc.titleEdward Albee and Existentialist Theatre: Reality and Illusion in Who’s Afraid of Virginia Woolf?
dc.typeArticle

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