Theatre of the Absurd was coined by critic Martin Esslin to describe a particular style of modern drama in the 1950s that centres on the irrational nature of human existence. Some of the principal practitioners- Harold Pinter, Samuel Beckett, Jean Genet- riddled their plays with nonsensical dialogues and esoteric argots to enhance a sense of unease and hyper-reality. Their purpose is often to enlarge the powerlessness of human beings when confronted by a world that seems exceedingly deprived of meanings. The movement, coincided at a time when people were gradually convalescing from the traumas of WWII, but would soon be assailed by more upheavals in the coming years, served implicitly as intellectual comments on the fraught state of affairs. Esslin, in the eponymous article, redefines the notion of the absurd: “ Absurd is that which is devoid of purpose... Cut off from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless,