French playwright Jean Anouilh stands out in 20th-century drama for his unique approach to themes of idealism, reality, and the complexities of human nature. His plays are often categorized by tone rather than genre, such as the somber pièces noires and the light-hearted pièces roses, allowing Anouilh to explore profound themes like personal freedom and societal constraints through a diverse stylistic lens. Works such as Antigone and Becket adapt classical myths and historical narratives to examine the perennial conflicts between duty and desire, and sacred versus civil law, resonating with contemporary moral struggles. In John Harvey's essay, Antigone is interpreted as a study in tragic roles, where characters are torn between ideals and survival.

Anouilh's reputation in modern drama is marked by his embrace of theatrical artifice alongside his exceptional stagecraft, blending entertainment with intellectual engagement. As Leonard Cabell Pronko notes, Anouilh marries vibrant characters with symbolic figures, enriching his narratives with explorations of identity and societal roles. His later works, including the pièces grinçantes, reveal a tempered perspective on human flaws, as discussed by Alba Della Fazia, reflecting an evolving outlook on life's complexities.

With plays such as The Lark and Becket, categorized as pièces costumées and pièces baroques, Anouilh uses historical figures to explore heroism and the interplay between reality and illusion. Critics, including Della Fazia, draw parallels with Luigi Pirandello, noting Anouilh's skill in merging classical styles with experimental approaches. Despite debates over his intellectual depth, critics like Michael Spingler highlight his use of theatrical devices to assert his status as a pivotal figure in French theater.

Anouilh's ability to reinterpret historical events for modern audiences is seen in works like L'alouette, which revitalizes Joan of Arc's story, and Becket, which probes church and state tensions. His post-war plays critique social hypocrisy, maintaining a balance between innovation and tradition, as GaëTan Picon observes. His satirical edge is clear in Pauvre Bitos, lampooning figures like Robespierre, and Antigone, where he blends humor and gravity to underscore existential and moral dilemmas, discussed by Marguerite Archer. The use of fairy-tale motifs in plays like Ring Round the Moon highlights life's paradoxes, offering truth and escapism as critiqued by John Simon. His exploration of personal integrity versus societal compromise culminates in nuanced portrayals in works like Becket, where familial metaphors explore identity conflicts, as noted by John H. Stroupe and Leonard Cabell Pronko.