Edward Albee and Existentialist Theatre: Reality and Illusion in Who’s Afraid of Virginia Woolf?

Abstract

This article underscores that Edward Albee’s 1962 play Who’s Afraid of Virginia Woolf? is notable for its capacity to scrutinize social norms and ideals, with its potential libertarian approach leaving a shocking impact on the audience. The play revolves around a night involving the middle-aged couple George and Martha and the young couple Nick and Honey. It primarily explores the intricate dynamics between couples, the concept of reality, and the absurdity of existence, delving into the depths of human psychology by addressing the characters’ past traumas and disappointments. Communication breakdowns and conflicts among the characters accentuate the fragility of human relationships, with disappointment being a central theme that underscores the disparity between past expectations and reality. The play, analyzed within the framework of existentialist theatre, provides a thorough examination of individual freedom, responsibility, and existential experience, focusing on the fundamental tenets of existentialist philosophy. It addresses existentialist themes by enabling characters to confront their own existential realities and understand their identities. The intricate relationship between Martha and George reveals the fine line between reality and illusion, and the dissolution of this illusion provides the audience with the opportunity to explore the inner worlds of the characters. In this context, the play emerges as a potent dramatic work that underscores the complexity of human relations through its engagement with existentialist themes. The play has made a significant contribution to American theatre, influencing modern dramatic structures and securing a prominent position in the literary world.