The audience, invisible or not, is still in evidence.
1952, pb. https://collected.jcu.edu/plays/12, Home If knowledge is power, the play seems to be saying, it can also be used as a weapon, either political or sexual. Auch lernte er seine spätere Frau Rodica Burileanu kennen, eine Philosophie- und Jurastudentin aus einflussreicher rumänischer Familie. 1963 (A Stroll in the Air, 1964); La Colère, pb. 1953, pb. Although introduced as husband and wife, the Martins (in what has since become one of the most famous scenes in contemporary drama) begin speaking to each other with all the tentative awkwardness of a pickup between strangers on a train. Ab den 1980er Jahren trat Ionesco auch als Maler hervor.
1970 (The Hard-Boiled Egg, 1973); Jeux de massacre, pr., pb. PUPIL: Yes, gladly, Professor. Both individually and as a pair, the nonagenarian couple with the main speaking parts recapitulate in their behavior all stages of human life, from babyhood to extreme old age. The Chairs remains, like its predecessor, hauntingly enigmatic, reflecting back on the spectator his own attempts to determine the play’s meaning. It remained for Ionesco, however, to explore even in his earliest efforts the horrific consequences that result when identity is lost or denied. Rhinoceros, perhaps the weakest of the lot, is a highly typical Ionesco play, hampered mainly by the commonly held assumption of intended specific meaning. in French 1960 (Rhinoceros, 1959); Les Salutations, pr.
During the late 1950’s, perhaps because of the debate, Ionesco began writing plays in which, for the first time, he appeared to be saying something specific; critics, noting the trend either with delight or with alarm, observed that his expression was somewhat weaker than in his earlier efforts. The Theater of the Absurd. Although connected to the earlier plays by nonsense elements, disconnected speech, and disorientation of the spectator, The Chairs establishes a thoughtful, elegiac tone that anticipates both Exit the King and the best plays of Beckett, whose Waiting for Godot was soon to be produced for the first time. Easily appreciated or understood at a preconscious level, yet subject to varied interpretations, Ionesco’s imagery has brought to the stage sights and sounds that would tax the ingenuity and imagination of even the most resourceful designers. März 1994 in Paris) war ein französisch-rumänischer Autor.
1975 kam L’Homme aux valises (Der Mann mit den Koffern) heraus und 1980 sein letztes Stück Voyages chez les morts (Reisen zu den Toten).
1958 (The Killer, 1960); Plays, pb. The Old Woman (Tamar Cohn) and The Old Man (David Sinaiko) in Cutting Ball Theater’s The Chairs. Linked by the preconscious logic peculiar to the dream experience, the scenes are striking in their imagery and often memorable. In Hunger and Thirst, the furniture must be specially designed so that it will sink into the floorboards as if into mud. PUPIL: One and one make two. For the momentous occasion, he has hired a professional Orator, who will deliver the speech to a carefully selected assemblage of invited dignitaries including the Emperor himself. B. Francos erhofften. 1966, pb. Not all of the headaches fall upon the set designer alone; two of Ionesco’s plays call for an “attractive” female character with multiple noses and breasts. Nevertheless, his deep-seated mistrust of political extremism on both sides left him peculiarly vulnerable to charges of political indifference.
1980; Voyages chez les morts: Ou, Thèmes et variations, pb. In one of Ionesco’s earliest plays, The Chairs, the two main characters keep bringing out chairs to seat an unseen multitude of guests. 1954, pb. In a variation on the proliferation theme, for example, the characters of Amédée share the stage with a growing corpse that is about to crowd them out of house and home; what usually shows of this monstrosity is a man’s shoe, approximately three meters in length, with sock and trouser leg attached.
Ionesco selber erklärte später sein Stück in dem Sinne, dass es nicht auf eine bestimmte Ideologie bezogen, sondern als generelle Kritik an Massenbewegungen gemeint sei.
Coe, Richard N. Ionesco: A Study of his Plays. 1951 folgten Les Chaises (Die Stühle), Le Maître (Der Lehrer) und L’Avenir est dans les œufs (Die Zukunft liegt in den Eiern). Laut Le Monde vom 21. Gaensbauer, Deborah B. Eugène Ionseco Revisited. 1956, pb. Even the play’s title is claimed as an addition, having occurred when an actor playing the Fire Chief in rehearsal misspoke the phrase “institutrice blonde” (“blonde schoolmistress”) as “cantatrice chauve” (roughly, “bald primadonna” or “bald soprano”). If viewed with sufficient objectivity, Rhinoceros thus emerges as a chilling portrayal of an individual in a society, any society, ostracized by his or her fellows for reasons that cannot be fully comprehended.
Ionesco’s King Bérenger, the Everyman protagonist of Exit the King, meets and surpasses in his life and death the anguished declaration of Camus’s Caligula (1954; English translation, 1948) that men die and are not happy; resuming in his modest person the history of all human endeavor, King Bérenger remains lucid even in his final moments, painfully aware that all has gone for nought. Certain critics, moreover, detected in Ionesco’s dramaturgy a strong cinematic influence, primarily from silent films and those of the Marx Brothers. Diese Seite wurde zuletzt am 17. 1970 (Killing Game, 1974; also pb.
Er wurde 1909 (und nicht, wie häufig zu finden, 1912) unter dem Namen Eugen Ionescu im damaligen Königreich Rumänien als erstes Kind eines Juristen und Verwaltungsbeamten und der in Rumänien aufgewachsenen Tochter eines dort tätigen französischen Eisenbahningenieurs geboren. Home 2009: Neuauflage: Gallimard jeunesse, Paris. Short fiction: La Photo du colonel, 1962 (The Colonel’s Photograph, 1967). Of Ionesco’s later efforts, only Man with Bags approaches the concise statement and eloquent imagery to be found in such plays as The Killer and Exit the King. Nottingham French Studies 35, no. | Despite the strong infusion of dream elements in such earlier plays as The Chairs, The Killer, and A Stroll in the Air, Man with Bags is the first of Ionesco’s efforts to be characterized by its author as a dream play. Although it may be tempting to consider those styles as evolutionary stages, such analysis founders on the simple evidence that the styles do not necessarily occur in chronological order.