Successful in spite of the violation of all dramatic conventions.
The most surprising thing about plays of this group is that in spite of their breaking of the rules they are successful. Esslin says:
1. “If a good play must have a cleverly constructed story, these have no story or plot to speak of;
2. If a good play is judged by subtlety of characterization and motivation, these are often without recognizable characters and present the audience with almost mechanical puppets;
3. If a good play has to have a fully explained theme, which is neatly exposed and finally solved, these often have neither a beginning nor an end;
4. If a good play is to hold the mirror up to nature and portray the manners and mannerisms of the age in finely observed sketches, these seem often to be reflections of dreams and nightmares;
5. If a good play relies on witty repartee and pointed dialogue, these often consist of incoherent babblings.”