The Bald Soprano and the Chairs Two One-Act Plays by the Master of Absurdism
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THE BALD SOPRANO” October 23 – November 22, 2009
media contact: erica lewis-finein brightbutterfly pr brightbutterfly[at]hotmail.com CUTTING BALL THEATER OPENS 10 TH ANNIVERSARY SEASON WITH IONESCO’S ABSURDIST MASTERPIECE “THE BALD SOPRANO” October 23 – November 22, 2009 SAN FRANCISCO (August 30, 2009) – San Francisco’s cutting-edge Cutting Ball Theater opens its 10 th season with Eugène Ionesco’s comic masterpiece THE BALD SOPRANO , in a new translation by Cutting Ball Artistic Director Rob Melrose . This hysterically funny play is the perfect follow up to last season’s hit production of Ionecso’s Victims of Duty , which garnered a Bay Area Critics Circle award for Best Production. Featuring Paige Rogers , David Sinaiko , Caitlyn Louchard , Donell Hill , Derek Fischer , and Anjali Vashi with direction by Rob Melrose , THE BALD SOPRANO plays October 23 through November 22 (Press opening: October 29 ) at the Cutting Ball Theater in residence at Exit on Taylor (277 Taylor Street) in San Francisco. For tickets ($15-30) and more information, the public may visit cuttingball.com or call 800-838-3006 . In THE BALD SOPRANO , Mr. and Mrs. Smith invite Mr. and Mrs. Martin over for a cheerful dinner. Plans for a sedate evening soon give way to hilarious chaos as polite conversation turns to confusion and the two couples engage in an escalating battle of linguistic acrobatics. Simultaneously comic and profound, THE BALD SOPRANO , about which The New York Times recently said, “The play has not aged. One might even suggest that we have caught up with [it],” is a play that breaks all the rules. While trying to learn English, Ionesco noticed the absurdity of the dialogues between the husband and wife in the textbook he was studying - she would inform him that they live in London, that they have three children, that the ceiling is above them and the floor is below them, all things he already knew perfectly well. -
The Catastrophic Theatre Presents Eugene Ionesco's Absurdist Classic
October 23, 2017 For immediate release Contact: Shayna Schlosberg Managing Director [email protected] 713-522-2723x3 The Catastrophic Theatre Presents Eugene Ionesco’s Absurdist Classic, Rhinoceros The Catastrophic Theatre continues its tradition of presenting avant-garde classics with Eugene Ionesco’s anti-fascist comeDy RHINOCEROS (Houston, TX) RegarDeD as one of the lanDmark plays of the 20th century, RHINOCEROS is a moDern masterpiece that comments on the plight of the human conDition, maDe tolerable only by self-delusion. The proDuction begins November 17 anD runs through December 10. Tickets are on sale now anD can be purchaseD at matchouston.org or by calling the Box Office at 713-521-4533. Performances are Thursdays at 7:30 p.m., Fridays anD Saturdays at 8:00 p.m., anD SunDays at 2:30 p.m. A rhinoceros suDDenly appears in a sleepy town, trampling through the peaceful streets. Soon another appears, anD another, anD another until it becomes clear that orDinary citizens are actually transforming into beasts as they learn to “move with the times.” Martin Esslin, author of the classic book THE THEATRE OF THE ABSURD, notes that “what the play conveys is the absurDity of Defiance as much as the absurDity of conformism, the trageDy of the inDiviDualist who cannot join the happy throng of less sensitive people, the artist’s feelings as an outcast…” Full of biting wit anD nightmarish anxiety, RHINOCEROS is Eugene Ionesco’s most famous play. Ionesco fleD Rumania in 1938, as more anD more of his acquaintances began to aDhere to the fascist Iron GuarD. -
Interview: Eugène Ionesco Author(S): Emmanuel Jacquart and Eugène Ionesco Source: Diacritics, Vol
Interview: Eugène Ionesco Author(s): Emmanuel Jacquart and Eugène Ionesco Source: Diacritics, Vol. 3, No. 2 (Summer, 1973), pp. 45-48 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/464536 Accessed: 08-05-2017 05:02 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to Diacritics This content downloaded from 128.239.195.115 on Mon, 08 May 2017 05:02:54 UTC All use subject to http://about.jstor.org/terms ooLl5 OKOW INTRODUCTION/ I first met lonesco in 1965. He was Emmanuel Jacquart: If you have no objection, I supposed to give a public lecture in an art cinema in would like to start with the fifties and your early Bordeaux. He began by asking his audience whether days in the theatre. How do you explain that authors he should start by reading one or two of his short as different as Beckett, Adamov and yourself, al- stories which Gallimard had just published. Opinion though influenced by different writers, and having was of course divided, but lonesco opened his book different backgrounds, nevertheless rejected the same and began with Oriflamme. -
The Chairs by Eugène Ionesco Adapted by Owen Mccafferty
The Chairs By Eugène Ionesco Adapted by Owen McCafferty Tinderbox Theatre Company RESOURCE PACK The Chairs Resource Pack February 2003 Resource pack contents Page • Introduction 3 • Background to the theatre of the absurd 4 • Writers of the absurd 5 • Relevance to today 7 • The absurd century: a chronology 9 • Producing a literal translation of The Chairs by Kerry Goyer 19 • French extract 20 • Extract from Kerry Goyer’s literal translation of The Chairs 22 • Extract from Owen McCafferty’s adaptation of The Chairs 24 • Discussion with Owen McCafferty 26 • Designing The Chairs by Stuart Marshall 29 • Ionesco vs Tynan 33 • Plays/Playwrights associated with the ‘absurd’ 35 • Programme Bibliography / Further Reading / Web-sites 37 2 The Chairs Resource Pack Introduction This resource pack is designed to compliment the pre-show workshop accompanying the Tinderbox Theatre Company staging of The Chairs by Eugène Ionesco, in a new adaptation by Owen McCafferty. These resources will provide further background information on many aspects of the production. Teachers or group leaders are asked not to distribute this document in it’s entirety to individuals, think of the trees, but rather use appropriate sections. If you have any comments about the contents of this resource please call John McCann at the Tinderbox office on 02890 439313. 3 The Chairs Resource Pack BACKGROUND: THEATRE OF THE ABSURD Ionesco’s play The Chairs is one of the plays central to what is called the ‘Theatre of the Absurd’. The play’s premise certainly lives up to the genre’s ‘absurd’ tag. An old married couple are 93 years old and married for 76 of these years. -
360 ° Series
360° SERIES VIEWFINDER: FACTS AND PERSPECTIVES ON THE PLAY, PLAYWRIGHT,MAY 17 – JUNE 29, 2014 AND PRODUCTION “Inspired by silent film clowns and vaudeville, Ionesco was a playful playwright. As he said,’The human drama is as absurd as it is painful.’” New York Times BY EugènE IonEsco NEWLY TRANSLATED MIchaEl FEIngold FEATURING KrIstInE nIElsEn, MIchaEl shannon, Paul sParKs and robErt stanton DIRECTED BY darKo trEsnjaK PICTURED: EUGÈNE IONESCO, PHOTO BY NORMAN SEEFF; AND MICHAEL SHANNON 6x9_postcard.indd 1 4/18/14 4:58 PM WWW.TFANA.ORG TABLE OF CONTENTS The Play 3 Synopsis and Characters 4 Theatre of the Absurd 6 Doubt and Disillusionment in Postwar France 10 Perspectives 12 Selected Performance History The Playwright 13 Biography 16 Dialogues: Ionesco by Rosette C. Lamont 14 Timeline The Production 21 Cast and Creative Team Further Exploration 25 Bibliography About Theatre For a New Audience 26 Mission and Programs 27 Major Supporters Notes Front Cover Art: Eugene Ionesco, photo by Norman Seeff, designed by Milton Glaser, Inc. Unless otherwise indicated, all quotations from The Killer are from Michael Feingold’s new translation, commissioned by Theatre for a New Audience, Copyright ©2014 by Michael Feingold. All Rights Reserved. This Viewfinder will be periodically updated with additional information. Last updated June 2014. Credits “Biography,” and “Perspectives” by Jonathan Kalb, Literary Advisor. “Synopsis” and “Doubt and Disillusionment in Postwar France” by Molly Yarn, Humanities Intern. “Theatre of the Absurd” by Charles Scott Jones, guest contributor. The Killer360° | Compiled and edited by: Carie Donnelson | Literary Advisor: Jonathan Kalb | Council of Scholars Chair: Richard C. -
Plagiat Merupakan Tindakan Tidak Terpuji Plagiat
PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI THE MEANING OF “THE CHAIRS” ACCORDING TO THE OLD MAN OF EUGENE IONESCO’S THE CHAIRS A SARJANA PENDIDIKAN THESIS Presented as Partial Fullfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Alyxia Sukmaadi Handono Student Number: 101214081 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2014 PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI THE MEANING OF “THE CHAIRS” ACCORDING TO THE OLD MAN OF EUGENE IONESCO’S THE CHAIRS A SARJANA PENDIDIKAN THESIS Presented as Partial Fullfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Alyxia Sukmaadi Handono Student Number: 101214081 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2014 i PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI ii PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI iii PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI “Tuhan itu maha asyik” Sudjiwo Tejo iv PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI v PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI vi PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI ABSTRACT Handono, Alyxia Sukmaadi. (2014). The Meaning of “the Chairs”According to the Old Man of Eugene Ionesco’s The Chairs. Yogyakarta: Sanata Dharma University. This study discusses The Chairs, a literary work written by a well – known absurdist playwright, Eugene Ionesco. This play tells about the old man and the old woman who live in absurd world. -
The Bald Soprano Program
City Garage presents The Bald Soprano by Eugene Ionésco translated by Donald M. Allen Directed & Adapted by Frederíque Michel Production Design by Charles A. Duncombe November 9—December 16, 2007 The Bald Soprano ABOUT THE AUTHOR Romanian-born French dramatist Eugène Ionesco By Eugéne Ionesco (1909–1994) began his career with a one-act “antiplay” La translated by Donald M. Allen Cantatrice chauve (1949; The Bald Soprano) that inspired a revolution in dramatic techniques and helped inaugurate the Directed & Adapted by Frederíque Michel Theatre of the Absurd. Ionesco was taken to France as an infant but returned to Production Design by Charles A. Duncombe Romania in 1925. After obtaining a degree in French at the University of Bucharest, he worked for a doctorate in Paris (1939), where, after 1945, he made his home. While working Cast as a proofreader, he decided to learn English; the formal, Jeff Atik ............................................................. Mr Smith stilted commonplaces of his textbook inspired the masterly David E Frank ...................................................Mrs Smith catalog of senseless platitudes that constitutes The Bald Cynthia Mance ................................................Mrs Martin Soprano. In its most famous scene, two strangers—who are Maximiliano Molina .......................................... Fire Chief exchanging banalities about traveling, where they live, and Alisha Nichols .......................................... Marie, the maid how many children they have—stumble upon the astonishing -
Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English Vol
AboutUs: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ ContactUs: http://www.the-criterion.com/contact/ EditorialBoard: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com The Criterion: An International Journal in English Vol. 12, Issue-I, February 2021 ISSN: 0976-8165 Fun and Games: A Study of Ionesco’s Victims of Duty Dr. Anum Mirza Women Welfare Officer (MSK), Under Ministry of Women & Child Development, Govt. of India. Article History: Submitted-18/01/2021, Revised-19/02/2021, Accepted-23/02/2021, Published-28/02/2021. Abstract: Ionesco’s view humor serves as a diagnostic tool to escape anxieties and tensions of life. It seems Ionesco was influenced by Cervantes since both the writers use the tools of comedy to expose and ridicule the contemporary society. The common feature of form is the use of an “imaginary reality” as the focal point of each play of Ionesco. Ionesco uses the tools of parody, burlesque, grotesque realism and the technique of mask in the plot. The plot is loaded with puns, spoonerisms, equivocations, misunderstandings and countless nonsensical drolleries. This paper is going to be an in-depth study of Ionesco’s play Victims of Duty which dramatizes fun and games of the protagonists. All the major three characters Choubert, Madeleine and the Detective play fun games. The games begin with the arrival of the Police Chief who intervene in their private life and the elements of dreams and illusions add interest in the drama. -
A STAGED PRODUCTION of EUGENE IONESCO's the CHAIRS by Tara Estelle Adelizzi University of Pittsburgh, 2008 Submitted to the Fa
A STAGED PRODUCTION OF EUGENE IONESCO’S THE CHAIRS by Tara Estelle Adelizzi University of Pittsburgh, 2008 Submitted to the Faculty of College of Arts and Sciences in partial fulfillment of the requirements for the degree of Bachelor of Philosophy University of Pittsburgh 2008 UNIVERSITY OF PITTSBURGH COLLEGE OF ARTS AND SCIENCES This thesis was presented by Tara Estelle Adelizzi It was defended on March 21st, 2008 and approved by Dr. Nancy Lane, Associate Professor, Department of French and Classics Dr. Bruce Alan McConachie, Professor, Department of Theatre Arts Dr. Christopher H. Rawson, Lecturer, Department of English Writing Thesis Advisor: Dr. W. Stephen Coleman, Associate Professor, Department of Theatre Arts ii Copyright © by Tara Adelizzi 2008 iii A STAGED PRODUCTION OF EUGENE IONESCO’S THE CHAIRS Tara Adelizzi University of Pittsburgh, 2008 The subject of this thesis is a theatrical production of the one-act play, The Chairs, written by Eugene Ionesco, particularly focusing on the artistic position of the director. The director is the artistic leader of the play, and the material of the thesis deals with all aspects of launching a successful production from the director’s perspective. This includes appropriate research for sufficient knowledge of the script, collaboration with other theatre artists in fully realizing the production, and rehearsal with actors in bringing the play to life. The final part of the directorial process includes an evaluation of the play’s success. iv TABLE OF CONTENTS 1.0 INTRODUCTION ........................................................................................................ 1 2.0 THE CHAIRS ~ PRE-PRODUCTION ....................................................................... 4 2.1 BIOGRAPHICAL RESEARCH ON EUGENE IONESCO ............................ 5 2.2 THE CONTEXT OF IONESCO’S PLAYS IN THE 20TH CENTURY ......... -
The Chairs Program
City Garage presents The Chairs by Eugene Ionesco Translated by Donald Allen Directed by Frederíque Michel Production Design by Charles Duncombe July 24—September 13, 2009 The Chairs by Eugene Ionesco Translated by Donald Allen Directed by Frederíque Michel Production Design by Charles Duncombe Cast Cynthia Mance ............................... Wife, 50 to 100 years old Bo Roberts ...............................Husband, 50 to 100 years old Garth Whitten ............................................................ Orator Production Staff Set and Lighting Design .............................. Charles Duncombe Assistant Director .................................................Trace Taylor Second Assistant Director .................................... Evan Roufeh Costume Design ........................................... Josephine Poinsot Sound Design/Publicity Photography .................Paul Rubenstein Light/Sound Operator .......................................Irene Casarez Master Carpenter ....................................................Troy Dunn Performed by special arrangement with Samuel French. Place & Time A home on an island in France The Present The play runs approximately 1 hour and 15 minutes. CAST PROFILES Cynthia Mance Wife, 50 to 100 years old This marks Cynthia’s 14th play over ten years at City Garage. She just finished playing the roles of Nicole in The Bourgeois Gentilhomme and Georgette in The School for Wives.. Other recent roles here include Woman One in Bad Penny, First Love in the The Mission (Accomplished) -
The Miracle of Being
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2014 The Miracle of Being Carolyn Toner Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Acting Commons, Dramatic Literature, Criticism and Theory Commons, Other Theatre and Performance Studies Commons, and the Performance Studies Commons Recommended Citation Toner, Carolyn, "The Miracle of Being". Senior Theses, Trinity College, Hartford, CT 2014. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/400 The Miracle of Being Exploring Humanness through the Thematic and Performative Elements in the Plays of Eugène Ionesco A Senior Thesis by Carolyn Toner Spring 2014 Theatre and Dance Department Trinity College, Hartford CT Toner 2 Contents Introduction 3 1. History of the Theatre of the Absurd 5 2. Eugène Ionesco 11 3. Thematic Elements of Ionesco’s Plays 16 Death Individuality 19 Instincts and Violence 20 Absurd World 22 Contradictions and Morality 26 4. Performative Elements of Ionesco’s Plays 30 Comedy and Humor Puppetry 32 Commedia dell’Arte and Clown Influence 34 Physical Acting 35 5. My Performance: Play Analyses 39 Victims of Duty 40 The Lesson 43 Hunger and Thirst 45 Exit the King 46 The Chairs 52 Amédée 54 A Stroll in the Air 57 The Killer 59 6. Performance Reflection 64 7. Works Cited 73 8. An Odd Collection 77 Toner 3 Introduction “Who has any interest in prolonging this confusion? I don’t know. Let’s not try to know.” - Eugène Ionesco, The Bald Soprano I was introduced to the plays of Eugène Ionesco when I was fifteen years old and played the Fire Chief in a scene from The Bald Soprano directed by a fellow high school student. -
A Dramaturgical Analysis of Eugene Ionesco's
ABSTRACT THE RHINOCEROS IN 2006: A DRAMATURGICAL ANALYSIS OF EUGENE IONESCO’S RHINOCEROS by kClare Kemock This paper supports Miami University’s production of Eugene Ionesco’s Rhinoceros by providing a dramaturgical analysis of Ionesco’s text, his characters, and his genre of anti-theatre. Through the research, the paper discusses director Dr. William Doan’s concept of technology as a modern-day threat of mass conformity, how it was introduced as a metaphor for Ionesco’s rhinoceroses, and how it was supported throughout the production process with directorical and design choices. Further, the paper questions whether Ionesco’s Theatre of the Absurd and, more specifically, his anti-theatre are effective in 2006. THE RHINOCEROS IN 2006: A DRAMATURGICAL ANALYSIS OF EUGENE IONESCO’S RHINOCEROS A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Theatre by Kathleen Clare Kemock Miami University Oxford, OH 2007 Advisor ________________________ (Dr. William J. Doan) Reader ________________________ (Dr. Elizabeth Reitz Mullenix) Reader ________________________ (Dr. Howard A. Blanning) TABLE OF CONTENTS CHAPTER TITLE PAGE Ionesco’s Rhinoceros: Analysis of Text and Characters 1 Miami University’s Rhinoceros: Process of Production 16 Ionesco and Technology: A Mechanized Rhinoceros 21 Ionesco in 2006: A Dramaturgical Post Script 26 Notes 33 Works Cited 36 Appendix I: Program Guide 38 ii Ionesco’s Rhinoceros: Analysis of Text and Characters Originally written as a short story published in Lettres Nouvelles in 19571 and first performed notably in 1960 in Paris, France at the Odeon Theatre2, Rhinoceros remains one of his most commonly produced plays.