English drama the stage. Again In the 1950s, the absurdist play "Waiting for Godot" (1955) (originally "En attendant Godot", 1952), by the French resident, Irishman Samuel Beckett profoundly affected British drama. The Theatre of the Absurd influenced Harold Pinter (1930-2008), (The Birthday Party, 1958), whose works are often characterised by menace or claustrophobia. Beckett also influenced Tom Stoppard (1937-) ("Rosencrantz and Guildenstern are Dead",1966). Stoppard's works are, however, also notable for their high-spirited wit and the great range of intellectual issues which he tackles in different plays. Both Pinter and Stoppard continued to have new plays produced into the 1990s. Michael Frayn
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"