Spanish-born French absurdist playwright, novelist, and filmmaker. Arrabal's dramatic and fictional world is often violent, cruel, and pornographic.

Arrabal worked as a clerk in a paper company, then studied law at the University of Madrid. He turned to writing in the early 1950s, and in 1955 he went to study drama in Paris, where he remained. The first volume of his plays was published in 1958, and the 1959 production of Pique-nique en campagne (Picnic on the Battlefield), an antiwar satire that contrasts the horrors of war with a cheerful family outing, brought him to the attention of the French avant-garde. Arrabal's most important play of this early period is probably Le Cimetière des voitures (1st perf. 1966; Automobile Graveyard), a parody of the Christ story. The characters in his plays are frequently childlike but seldom innocent; they are prostitutes, murderers, and torturers.

After the mid-1960s, Arrabal's plays became increasingly formal and ritualistic, evolving into what Arrabal called Théâtre Panique (“Panic Theatre”). Among the plays of this highly productive period are L'Architecte et l'empereur d'Assyrie (1967; The Architect and the Emperor of Assyria), in which the two characters assume each other's personae, and Et ils passèrent des menottes aux fleurs (1969; And They Put Handcuffs on the Flowers), more overtly political than his previous plays; its theme of freedom from oppression was inspired by the author's imprisonment while on a journey to Spain in 1967.

Arrabal's first novel, Baal Babylone (1959; Baal Babylon), dealt with his nightmarish childhood in fascist Spain; in 1970 he adapted it into the screenplay ¡Viva la Muerte! (“Long Live Death!”) and directed its filming in Tunisia. An extremely prolific writer, he also, in addition to producing a dozen volumes of collected theatre pieces, wrote novels, filmscripts, poetry, political and other nonfictional texts, and two books on chess.