Le
Sens de la Marche (The Way to Go) – 1953
by
Arthur Adamov
(Type of Work)
Le
Sens de la Marche (The Way to Go) by Arthur Adamov belongs to the realm of
modern experimental drama, specifically within the tradition often associated
with the Theatre of the Absurd. As a type of work, it is a stage play that
departs from conventional dramatic structures, favoring fragmentation, ambiguity,
and symbolic action over linear storytelling and realistic characterization.
Written
for performance rather than narrative reading, the play is constructed around
dialogue, movement, and stage situations that emphasize atmosphere rather than
plot progression. Unlike traditional dramas that follow a clear beginning,
middle, and end, this work resists a neatly organized storyline. Instead, it
presents a sequence of situations in which characters appear trapped within a
system they cannot fully comprehend. The emphasis lies not on external events
but on the condition of being—how individuals exist, respond, and endure within
an uncertain and often illogical environment.
The
play’s dramatic form relies heavily on repetition, circular conversations, and
pauses, which contribute to a sense of stagnation rather than development.
Characters are not fully individualized in the classical sense; they function
more as representatives of human states—confusion, obedience, anxiety—than as
psychologically detailed persons. Dialogue frequently breaks down or loops back
on itself, reinforcing the instability of communication and meaning.
As
a theatrical work, it also places significant importance on staging, gesture,
and rhythm. Physical movement—suggested by the idea of “marching” or
“going”—becomes symbolic rather than purely literal. The stage space often
feels confined or controlled, reflecting the invisible pressures governing the
characters’ actions. This integration of physical and verbal elements aligns
the play with avant-garde theatre practices of the mid-twentieth century.
In
essence, the type of work is not merely a play in the traditional dramatic
sense, but an experimental theatrical piece that challenges the expectations of
narrative, character, and meaning. It uses the stage as a space to present a
condition of existence rather than to tell a conventional story, situating it
firmly within the broader movement of modernist and absurdist drama.
 – 1953 by Arthur Adamov (Type of Work)){kind=link}
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