This essay explores how Harold Pinter's The Birthday Party, Eugene Ionesco's Rhinoceros and Samuel Beckett's Waiting for Godot ignore the tropes of conventional theatre and examines how ludicrous these plays are. In Paris, the absurd drama movement grew. During the time, France was regarded as the global hub for art. The discord between humanity and the outside world is depicted in absurd drama, which defies the established forms of conventional drama, which have a tradition with deep roots. The ludicrous drama minimises all the visually appealing and delicate features on stage. Samuel Beckett, Harold Pinter, Eugene Ionesco, and Arthur Adamov are the most well-known dramatists who critique traditional play and its components in their works, either directly or indirectly, and make them challenging while attempting to reveal their unique understanding of theatre.