What can be said as a generalization about Dürrenmatt's dramatic oeuvre is that, from a dramaturgical point of view, it defies any sort of facile pigeonholing. He himself firmly denies that he belongs to any particular school of dramatic composition: there are elements of the absurd, classical tragedy, and even realism in his works. He says in 1954 that he is not "an existentialist, a nihilist, expressionist or ironist," and had he been writing later on he might well have added "absurdist" to the list. For him the stage is not a place for the working out of theories but a place for experiment, for developing the poetry and essence of the theater.

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "What can be said as a generalization about Dürrenmatt's dramatic oeuvre is that, from a dramaturgical point of view, it defies any sort of facile pigeonholing. He himself firmly denies that he belongs to any particular school of dramatic composition: there are elements of the absurd, classical tragedy, and even realism in his works. He says in 1954 that he is not "an existentialist, a nihilist, expressionist or ironist," and had he been writing later on he might well have added "absurdist" to the list. For him the stage is not a place for the working out of theories but a place for experiment, for developing the poetry and essence of the theater." in the context of "Kenneth J. Northcott, in "Dürrenmatt’s Drama" (2006)" to mean that wisdom is timeless.