— Ch. 1 · Flight From Vienna —
Martin Esslin.
~3 min read · Ch. 1 of 6
Martin Julius Esslin was born Pereszlényi Gyula Márton in Budapest on the 6th of June 1918. His family moved to Vienna when he was very young. He studied Philosophy and English at the University of Vienna during his early years. In 1928, he began studying directing under Max Reinhardt at the Reinhardt Seminar of Dramatic Arts. Actor Milo Sperber sat in the same classroom as him during those formative days. The political landscape shifted violently across Europe shortly after this period. Esslin fled Austria following the Anschluss of 1938 due to his Jewish descent. He spent a year in Brussels before moving on to England. This journey marked the end of his childhood home and the beginning of a life defined by displacement.
The Absurd Label
Esslin wrote his seminal book Theatre of the Absurd in 1961. Critics later called it the most influential theatrical text of the 1960s. He defined the attribute of absurdity within these pages for modern playwrights. Playwright Eugène Ionesco stated that he did not like labels attached to his work. Ahmad Kamyabi Mask criticized Esslin for a purported colonialist quality of this title for Avant-garde theater. Despite this rejection from some artists, his work inspired Samuel Beckett, Arthur Adamov, Jean Genet, and Harold Pinter. The term became central to understanding mid-century drama even when its creators resisted it. Esslin's definition shaped how audiences viewed the chaotic nature of post-war theatre.National Theatre Of Air
He began working for the BBC in 1940 as a producer and script writer. His role expanded to include broadcasting duties across various departments. Esslin headed BBC Radio Drama from 1963 until 1977. During this tenure, he previously worked for the external European Service. He tried to bring to life his dream of a national theatre of the air through broadcasting. His team translated many foreign works into English during this time. This effort created a unique cultural space where listeners could experience global voices. The radio medium allowed him to reach audiences who might never see live performances. These broadcasts established a new standard for audio storytelling in Britain.