Throughout the history of dramatic literature, "presence" has been assumed as a fundamental concept, prominently reflected in the existence and presence of an active character and an organized and primarily forward-moving plot within the drama structure. While "presence" is often considered foundational, the concept of "absence" as its counterpart has frequently been overlooked and neglected. Jacques Derrida, the post-structuralist philosopher, argued in his theory of deconstruction that Western metaphysical tradition is centered on presence while disregarding absence. He called for disrupting the prevalent binary oppositions in this tradition and dismantling existing structures to allow marginalized voices and previously absent elements to speak. This article, drawing on Derrida’s theory of deconstruction and employing a descriptive-analytical method, examines the manifestation of the concept of "absence" in The Bald Soprano, Waiting for Godot, and The Dumb Waiter as the first, most renowned, and one of the most significant examples of absurd drama. It demonstrates how a new form of dramatic literature has emerged by deconstructing the structures and dominant patterns that have governed Western dramatic traditions for centuries. This form, characterized by the absence of an active, driving character, a nonlinear and repetitive plot, and the prevailing absurdity of its world, aligns with the era in which these plays were conceived and established, promising a fresh perspective. These plays can be considered pioneers who indicate the possibility of new types of drama by breaking common patterns and established traditions and creating harmony between the drama of each era and its contemporaneous characteristics.