Purpose This study aims to examine the position of meaningless life in absurdist drama and to analyze the connection between the principles of chaos theory and existentialist as well as absurdist themes in the works of Samuel Beckett and Harold Pinter. Methodology Adopting a theoretical doctrinal approach, this research analyzes concepts such as ontological instability, loss of meaning, identity crisis, and psychological disorder, employing the principles of chaos theory including the butterfly effect, strange attractors, self similarity, and dynamic adaptation as analytical tools. Findings The investigation reveals that fundamental elements of drama such as language, characterization, and narrative structure reflect the inner and outer chaos of modern human beings, and that there is a meaningful overlap between the nonlinear structure of absurdist theater and the principles of chaos theory. Innovation The main innovation of this research lies in introducing an interdisciplinary approach that employs chaos theory as a novel framework for analyzing semantic and identity crises in contemporary drama, thereby establishing a fresh connection between scientific and philosophical knowledge. Conclusion The study emphasizes that adopting an interdisciplinary and innovative approach can facilitate the reinterpretation of absurd and chaotic phenomena in contemporary drama and provide an analytical framework for a deeper understanding of the challenges of meaning and identity in theatrical literature.