荒诞派戏剧是20世纪50─60年代在法国兴起和形成，而后流行于西方戏剧舞台的一种文艺思潮流派。它没有完整连贯的情节，没有戏剧冲突，舞台形象支离破碎，人物语言颠三倒四。它表现的世界是荒诞的，人生是痛苦的，人与人的关系是无法沟通的。
Meanwhile existentialism had critical impact on absurd theatre during 50s and 60s. In Sartre’s play, he exhibited the general existence of absurdity, which is worth studying when playwriting technique is concerned.
同时,作为荒诞派的哲学基础,存在主义对二十世纪五、六十年代的荒诞戏剧产生了重要影响。 然而在萨特的戏剧中,他以一种最为传统的结构样式表现出了荒谬的普遍存在,在编剧技巧上这是很值得研究的。
参考来源 - 萨特戏剧的情境研究·2,447,543篇论文数据，部分数据来源于NoteExpress
中国荒诞戏剧与西方荒诞戏剧有着事实上的影响和渊源关系。
Chinese absurd drama and western drama are factually influenced and closely connected.
塞缪尔·贝克特和尤金·艾里斯柯曾为“荒诞派戏剧”写作剧本。
Samuel Beckett and Eugene Ionesco have written plays for the theater of the absurd.
上世纪五十年代欧美兴起的荒诞派戏剧彻底颠覆了传统戏剧，根本改变现有的戏剧观念。
The Theatre of the Absurd, which came into being in the fifties of the last century, totally subverts the ideas of traditional drama.
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