Twentieth-century English literature Terence Rattigan and Noël Coward were challenged in the 1950s by these Angry Young Men, in plays like John Osborne's "Look Back in Anger" (1956). Arnold Wesker and Nell Dunn also brought social concerns to the stage. Again in the 1950s, the absurdist play "Waiting for Godot" (1955) (originally "En attendant Godot", 1952), by Irish writer Samuel Beckett profoundly affected British drama. The Theatre of the Absurd influenced Harold Pinter (born 1930), author of (The Birthday Party, 1958), whose works are often characterised by menace or claustrophobia. Beckett also influenced Tom Stoppard (born 1937) ("Rosencrantz and Guildenstern are Dead", 1966).
Mise en abyme (in literature and other media) appearing medium, it only occurs. If the occurrence IS discussed (or if mise en abyme triggers reflections on the respective medium, the construction of the text etc.), mise en abyme is combined with metareference. Mise en abyme (in literature and other media) Mise en abyme (also mise-en-abîme, French "to put in the abyss", [miːz ɒn əˈbɪːm] is a transgeneric and transmedial phenomenon, which can occur in all literary genres, in comics, films, paintings and other media. It is a form of similarity and/or repetition (hence a variant of self-reference) occurring within works of arts and the media. "Mise en abyme"