Its leading figure Samuel Beckett, after the war experience and at home again, had experienced a great artistic revelation. The nature of this revelation, articulated by Beckett, concerned the bankruptcy of most common organizing principles of life and of work and, consequently, awareness not of personal or national identities or the informing truths of theologies or philosophies of life, would henceforth be open to skeptical examination. Corresponding to this revelation, in his literary work every artistic or theatrical principle, such as characterization, resolution or specificity of scene, would be broken. Much later, and in large part because of Beckett’s work, Martin Esslin would invent the term “Theatre of the Absurd” to describe this kind of drama. Famous playwrights of this theatre, such as Samuel Beckett, deploys characters far from familiarization to emphasize humanity’s helplessness and alienation within a meaningless universe. A Godless universe in which there are no transcendent values and human beings have little control over their lives, satirizing society’s attempts to avoid facing up to these unpalatable facts by putting its faith in fictitious idols. However, ironically, when this kind of criticism becomes part of ‘normative value’ itself, the alienation and helplessness of human society too, have become a veil to this world.