Whim and caprice dominated the ‘60s. It was a period of slow convalescence from the aftermath of the two World Wars, the Holocaust, and the Great Depression; a period of unrest and revolt, resulted from a protracted hopelessness the people had felt towards the grim prospect of the immediate future, and a just indignation of their unrelieved squalor. It was also a period that saw a light to the problem of an identity crisis that seized the lost and the dispossessed, as the collective repugnance for tyranny and enforced servility necessitated a call for self-liberation. The naiveté of going against the conventional, as this self-liberation invariably took form, culminated in a radical iconoclasm that favoured a constitution of individuality that obstinately resisted any outward influence. The Theatre of the Absurd was, in a sense, a riposte to this pervasive “counterculture” that sought to disentangle from the past through an arbitrary myth-making. Often in a mock-parodic manner th...