ज्यां पॉल सार्त्र ह्यांचे नो एक्झिट आणि अब्सर्ड थिएटर १ श्रीधर तिळवे नाईक 

मुंबई विद्यापीठात दृश्यकलांच्यावर पीएचडी करतांना जे नाटककार महत्वाचे वाटले त्यातील सार्त्र एक ! क्राईम पॅशन मी एफ वायला वाचले आणि मग माझ्या शिरस्त्याप्रमाणे समग्र सार्त्र हातात घेतला त्याच्या नो एक्झिट नाटकावर जे लिहिले होते ते आता मुंबई विद्यापीठात लेक्चर देताना उपयोगी पडले समकालीन वास्तवात ते महत्वाचे वाटल्याने इथे एडिट करून देतोय मजकूर इंग्रजीत लिहिला होता त्यामुळे तो इंग्रजीत देतोय माझं इंग्रजी कच्च आहे ह्याची मला कल्पना आहे पण काय करणार नाईलाज आहे त्यामुळे त्यात काही चुका असतील तर क्षमा असावी 

धन्यवाद 

The beginning of absurd theatre: NO EXIT BY JEAN PAUL SATRE 

SHRIDHAR TILVE

Hitler is back in discussion after the emergence of a new political Islamic state under the leadership of Khomeini and along with it an absurdity and absurd theatre appear everywhere as political daily soap opera.  Traditionally it's believed that Martin Esslin has coined the term "absurd theatre" which is correct but the meaninglessness of existence was always part of the existential discussion. of  Friedrich Nietzsche and his philosophical attempt to ask human beings to give his or her meaning to his or her existence individually in their personal capacity as there is no universal meaning for existence.

 

Martin Esslin completely ignored Satre in his book as an absurd writer because he was too much under the awe of his status as a philosopher But now we can differentiate artist Satre from philosopher Satre and study impersonally as an artist, as well as a philosopher, as both are dead and in case if they are looking from the window of hell they won't interfere as it's prescribed in NO EXIT.

The play was one of the finest play second one chronologically written with an absurd situation situated in the second empire as hell which is uncontrollable as nobody has seen god and nobody discusses HIM as he is dead and for hell unnecessary element. 

As death is the best departation of characters three existences enter hell with fixed understanding given by their religious facticity and realize that the whole facticity about hell doesn't exist. Everyone has an image of a traditional torturer and assumes others as appointed torturer Hell-like hotel suite is meaningless because it's unexpected. Time place and identity of the caretaker and location are unclear and ambiguous Everybody gets confused initially because of facticity doesn't match and the structure of the hall is incomplete as there are not necessary things like toothpaste and mirrors as necessary things are unnecessary for dead people. Naturally, it becomes difficult to classify whether the hell is a fantasy of Satre or characters or it is reality As time is abundant rather characters have only one thing in abundance i. e.  time, time becomes meaningless without any respect and always comically flipflopping in lively situation of dead people.  In the end when they realize that other is hell or The other is hell and now they are hell for each other they laugh in a situational ironical tone Surprisingly they neither doubt hell or the world from which they reach here. The simple presentation of hell convinces its authenticity and fantasy becomes new facticity for new people. 

The live telecast of the petty and dishonest world which they left only convinced that the world doesn't bother about their existence after their death and tuned well with the new world existed without them. The expected setting for this play can be anything as hell doesn't need regular commodities and the absence of some necessary commodities like mirror functions as torture as well as hell. HELL enters in the head of each character slowly like poison and makes a psychological place in their behavioral pattern 

As Satre used to say the facticity and transcendence are two aspects of existential possibility. Absurdity doesn't see transcendence because as Heidegger says we sometimes immersed in the present so deep that we forget everything. So absurdity many times is the final immersion of existence in the meaningless present which deactivates its own transcendence tempted by the glorification of meaninglessness In NO EXIT human beings try to transcend but being dead they couldn't do it and ultimately they reached in the hell of absurdity which is impossible to alter and as there is no exit and in case if the door is open there are the only same type of doors and rooms outside as hell prevails everywhere the exit is also meaningless. So when they have the choice to go outside the room they don't dare to go outside because hell is in the same manner everywhere and everywhere the same meaningless is pouring So there are open doors and yet there is no exit for absurdity.

People allow absurdity in their life and in return absurdity kills life because life without transcendence is dead and absurdity refuses any chance to transcend and hide life in a tower of meaningless. There is always a choice but if you choose absurdity you choose death. In NO EXIT characters are already dead and they have nothing left but hell as moral punishment. Initially, death becomes significant but after some time it becomes past for three characters and questions stand before them were questions of the afterlife and surprising they are not different from life before death. So even after death, the existential crisis remains the same, and tragic is you can't die now so the question of suicide is outdated here and the trap and plot of continuity completes the circularity of life. 

 

It is surprising that the play ends here with the end of absurdity and it really ends the possibility of new absurd play because once you write the absurdity of death nothing remains in live life so no other absurd play from Satre

SHRIDHAR TILVE NAIK