"The Theatre of the Absurd attacks the comfortable certainties of religious or political orthodoxy. It aims to shock its audience out of complacency, to bring it face to face with the harsh facts of the human situation as these writers see it. But the challenge behind this message is anything but one of despair. It is a challenge to accept the human condition as it is, in all its mystery and absurdity, and to bear it with dignity, nobly, responsibly; precisely because there are no easy solutions to the mysteries of existence, because ultimately man is alone in a meaningless world. The shedding of easy solutions, of comforting illusions, may be painful, but it leaves behind it a sense of freedom and relief. And that is why, in the last resort, the Theatre of the Absurd does not provoke tears of despair but the laughter of liberation."

“ "Absurd" originally means "out of harmony," in a musical context. Hence its dictionary definition: "out of harmony with reason or propriety; incongruous, unreasonable, illogical." In common usage, "absurd" may simply mean "ridiculous," but this is not the sense in which Camus uses the word, and in which it is used when we speak of the Theatre of the Absurd. In an essay on Kafka, Ionesco defined his understanding of the term as follows: "Absurd is that which is devoid of purpose. . . . Cut from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless.”

“The Theatre of the Absurd has renounced arguing about the absurdity of the human condition; it merely presents it in being — that is, in terms of concrete stage images. This is the difference between the approach of the philosopher and that of the poet; the difference, to take an example from another sphere, between the idea of God in the works of Thomas Aquinas or Spinoza and the intuition of God in those of St. John of the Cross or Meister Eckhart — the difference between theory and experience.”

“Memorial Resolution, Stanford University”

“The Theatre of the Absurd … can be seen as the reflection of what seems to be the attitude most genuinely representative of our own time.  The hallmark of this attitude is its sense that the certitudes and unshakable basic assumptions of former ages have been swept away, that they have been tested and found wanting, that they have been discredited as cheap and somewhat childish illusions. The decline of religious faith was masked until the end of the Second World War by the substitute religions of faith in progress, nationalism, and various totalitarian fallacies. All this was shattered by the war.”

“Martin Esslin's radio work discussed on the Diversity website”

“The Theatre of the Absurd strives to express its sense of the senselessness of the human condition and the inadequacy of the rational approach by the open abandonment of rational devices and discursive thought. While Sartre or Camus express the new content in the old convention, the Theatre of the Absurd goes a step further in trying to achieve a unity between its basic assumptions and the form in which these are expressed. In some senses, the theatre of Sartre and Camus is less adequate as an expression of the philosophy of Sartre and Camus — in artistic, as distinct from philosophic, terms — than the Theatre of the Absurd.”