荒謬劇場(TheTheatreoftheAbsurd)興盛於1950年代，當時於歐陸產生了一種顛覆傳統大眾對戲劇認知的新戲劇，其形式在語言上可能充斥著陳腔爛調，人物沒有明顯性格，戲劇沒有衝突等。英國劇評家馬丁‧艾斯林(MartinEssEn,1918-2002)稱為「荒謬劇場」（簡稱荒謬劇）。對於初接觸荒謬劇的人來說，通常會被外在的荒謬形式所吸引，而忽略了內在的特質，以至於在搬演荒謬劇時，流於譁眾取寵。事實上荒謬劇的內在精神，繼承了存在主義(Existentialism)的哲學思潮，外在的荒謬不拘都是為了突顯人類對自我存在的質疑。本文將通過臺灣哲學學者陳鼓應的存在主義情態理論，詮釋荒謬劇中的經典作品，以說明荒謬劇中的存在主義精神。

Theater of the absurd flourished in the 1950s, was produced the new form of anti-theatre that the language may be filled with hackneyed, the characters no apparent personality, no drama conflicts in Europe. Martin Esslin(1918-2002) called ＂theater of the absurd＂ . For early contact with theater of the absurd who was usually attracted to the external form of the absurd, while ignored the inherent qualities in the theater of the absurd. In fact, theater of the absurd of the inner spirit inherited existentialism. In this paper, through Chen Ku-ying's existential modality theory, that interpret existential modality in Theater of the absurd.