The new dramaturgy (“le nouveau théâtre”) was also known inside the French cultural space as “the theatre of absurd”, “anti-theatre” or “theatre of derision”. Towards the second half of the last century, in an independant way, each of them following their own path, the “new” playwrights (Beckett, Ionesco, Genet, Adamov) have shattered, through the invention of a new form in theatre, the basis of the classical approach of the theatrical representation. The new structures they proposed question its very founding principles and make their constituent paradoxes explode. Self-referential in all respects, this new dramaturgy implies, in its form as well as within its message, a refusal of logic of the Original, copy and undertakes, according to G. Deleuze, “the rise of simulacre”. It has no longer a plot in the traditional meaning of this term, no psychological analysis, no depiction of characters, The present article refers mainly to the mutation that suffered the traditional concept of character in some works of two most representative authors of new dramaturgy, namely Samuel Beckett and Eugène Ionesco.