Neurosis and commitment in the theatre of Arthur Adamov

Abstract

The present study is intended to trace consistencies in the work of Arthur Adamov, and to refute critical opinion that he underwent a Marxist conversion in the middle of his career which divided his plays into distinct, dissimilar categories. The areas of consideration are : neurosis in the private life of the author, and its repercussions upon his plays, and the way in which neurosis can be linked to social commitment in the lives of Adamov and of his characters. The opening chapter traces the "biographical background to Adamov's writing career, showing its basis in neurosis and attempting to elucidate the author's character. It is followed by a chapter devoted to Adamov's philosophy of Separation and the State of Man, seen as highly influential in his theatre. Chapter Three deals in detail with specific elements highlighting neurosis in the plays, and is paralleled by Chapter Five, which adopts a similar procedure in respect of commitment to social existence, whilst Chapter Four demonstrates the nature of Adamovian commitment as humanitarian rather than politically active. In Chapter Six the dramatic techniques of the author are discussed, and. are found to be consistent throughout his plays, and themselves based largely in neurosis. Use is made of interview material and previous critical works on Adamov's life and plays, many of which have been able to supply opinion and evidence to support the thesis of a consistent, developing Work based in neurosis.