Evam Absurd: Badal Sircar and the Matrix of Absurdism
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Hunger and Thirst & Other Plays
Hunger and Thirst and Other Plays Other Works by Eugene Ionesco Amedee, The New Tenant, Victims of Duty The Bald Soprano Exit the King Fragments of a journal Four Plays The Killer and Other Plays Notes and Counter Notes Rhinoceros and Other Plays A Stroll in the Air, Frenzy for Two, or More Eugene Ionesco HUNGER AND THIRST and other plays Translated from the French by Donald Watson GI�OVE PI�ESS, II\:C. :'\E\\' YOI�K Theu trar1slatio11S CO/J)' Tighted © 1968 In• Calder all(/ Royars, Ltd. Hrm{!.n a11d Thirst was originally published as La Soif et la Faim ropnigiH ® •!)fiG hl· Editions Galliman!. Paris. The Pic· ttne, Auger, and Salutations were originally publishf'd as Le Tableau, /.a Co/he, Les .\alutatiom copyright © 1!)63 by Edi· tions l.allimarcl, Paris All R ights Resewed l.ibrary of Co11g1·e.u Catalog Card Number: 73-79095 First Printing, 1969 CAl;rJO)';:h T rse plays are full)' protected, in whole, in part or iu any form uuder the copyright laws of thl' United States of America, the Rritis/1 Empire including the Dominion of Can ada, a11d all other countries of the Cop)'right Union, and are sul>ject to royalty. All rights, incl11ding professional, amateur, motion picture, radio, teler>ision, recitation, public rradillfi, and all\' m eth od of photographic reproduction, are strictly resenwl. For /JTOfessiorral rightl all inquiries should l>e addre.Hed to !.rope Prrss, Inc., Ro Unir>ersity Place, New York, X.l'. 1ooo;. For amateur and stock rights all inquiries should be adrlre.«ed to Samuel French, Inc., 25 West 45th Street, Xew York, .V.Y. -
Eugène Ionesco Through the 20Th Century
Cultural and Linguistic Communication HETEROTOPIAS DISTURB: EUGÈNE IONESCO THROUGH THE 20TH CENTURY María Ángeles GRANDE ROSALES1 1. Prof., PhD, Faculty of Philosophy and Literature, Dept. of General Linguistics and Literary Theory, University of Granada, Spain Corresponding author: [email protected] Not only in the theatre, but there also, the 20th Rhinoceros (1959), A Stroll in the Air (1962), Exit century was the century of the disappearance of the King (1962), Hunger and Thirst (1966), Jack, or space and of time transfigured by massacre. The Submission (1970), Macbett (1972), Ce Scientific progress did not produce moral Formidable Bordel (1973), The Man with the Luggage progress. Hiroshima, Auschwitz, Nazism, the (1975), or Journey Among the Dead (1980), also the totalitarianisms, Vietnam present themselves as novel The Hermit (1973), the autobiographical the incontrovertible historical evidence. In the diaries Fragments of a Journal (1967) and Present words of Angelica Liddell: Past, Past Present (1968), and various collections El tiempo ya no ubica las acciones humanas of essays, aesthetic reflections, newspaper sino la descomposición. Un minuto no es articles, marginal notes etc. Born to a Rumanian tiempo, es espacio, espacio desmoronado. father and French mother, he moved to Paris Sería como decir este avión tarda en llegar aged one and lived in France until 1922, when he tres hospitales bombardeados. Sería como was reclaimed by his father and returned to decir un minuto son tres campos de Rumania, where he would continue his exterminio. La definición de sufrimiento secondary and higher education. Later he usurpa la definición del espacio y del tiempo achieved the post of cultural attaché of the (…) La realidad destruida hace que se recurra Rumanian delegation of Vichy, definitively a la metáfora como generadora de realidades establishing himself in France, where he nuevas. -
Eugene Ionesco RHINOCEROS
Eugene Ionesco RHINOCEROS ARAVIND R NAIR, ASSISTANT PROFESSOR, DEPT. OF ENGLISH,SH COLLEGE, THEVARA EUGENE IONESCO 26 November 1909 – 28 March 1994 • Romanian, wrote in French • Part of the French Avant Garde Theatre • About the insignificance of human existence • "Walking in summer sunshine in a white-washed provincial village under an intense blue sky, [Ionesco] was profoundly altered by the light." • An early childhood transcendental experience • he saw that the real world in comparison was full of decay, corruption and meaningless repetitive action. Death is inevitable. • Works reveal a disgust for the tangible world • The feeling that a better world lies just beyond this one. • Married Rodica Burileanu in 1936. • Wrote unconventional children’s stories for his kids. • Lived in France during the second world war. • Awards and recognition: • Member of the French Academy, 1970 • Prix Italia, 1963. • Authors Theatre Prize, 1966 LITERARY CAREER Debuted as a critic and poet Wrote satirical works: The Hugoliade mocking Victor Hugo First play in 1948: The Bald Soprano One act nonsense play Based on Ionesco’s attempt to learn English The clichés and truisms of language learning Was rather unsuccessful until Jean Anouilh and others promoted it EARLY WORKS Jack or the Submission.1950 The Lesson. 1950 The Chairs. 1952 The New Tenant.1953 The Anti-Play: absurdist, alienation, impossibility of communication, against conformism of the bourgeoisie and the theatre. An atmosphere where language breaks down into meaninglessness. FULL LENGTH PLAYS A Stroll in the Air The Killer. 1959 Rhinoceros Exit the King. 1962 The character ‘Berenger’ – an autobiographical figure. Features in many of Ionesco’s plays including Rhinoceros. -
Title of Thesis Or Dissertation, Worded
A PAINTER OF THE ABSURD: READING THROUGH AND BEYOND EUGÈNE IONESCO’S HUMANISM by ANA-MARIA M’ENESTI A DISSERTATION Presented to the Department of Romance Languages and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2014 DISSERTATION APPROVAL PAGE Student: Ana-Maria M’Enesti Title: A Painter of the Absurd: Reading Through and Beyond Eugène Ionesco’s Humanism This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Romance Languages by: Alexandre Albert-Galtier Chairperson Karen McPherson Core Member Massimo Lollini Core Member John Schmor Institutional Representative and J. Andrew Berglund Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2014 ii © 2014 Ana-Maria M’Enesti iii DISSERTATION ABSTRACT Ana-Maria M’Enesti Doctor of Philosophy Department of Romance Languages December 2014 Title: A Painter of the Absurd: Reading Through and Beyond Eugène Ionesco’s Humanism The Theatre of the Absurd often has been considered the reflection of a deconstructionist gesture, a negation of the existent theatrical norms, therefore an end in itself without any prospect of possible alternatives or remedies. While this may be partially true, the entropy inherent to the absurd does not adhere to a mechanically formal posture; rather, the “purposeless wandering”, in Eugène Ionesco’s case, points, through humor (Ce formidable bordel), toward a longing for meaning, deeply rooted in the human being. This very longing is the crux of Ionesco’s humanism. -
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. -
A Director's Approach to Ionesco's Rhinoceros Chad Landon Kennedy
ABSTRACT Unpacking the Individual: A Director’s Approach to Ionesco’s Rhinoceros Chad Landon Kennedy, M.F.A. Chairperson: Stan Denman, Ph.D. In 1959, French-Romanian playwright Eugene Ionesco debuted his play, Rhinoceros, and the theatergoing world was captivated by the curious image of people turning into pachyderms. This fable about herd mentality and being comfortable in one’s own skin is continually timely, as humans and rhinos often pit people against the pack. While critics have pointed to historic inspirations for the script for years, the play is more effective as an individual exploration of what it means to be human. Like much of Ionesco’s work, it reveals a strong concern for individualism and upholding human dignity. This thesis examines the production process that brought Rhinoceros to the Baylor University stage in December 2019 for a weeklong run. It explores the playwright’s life and work, as well as historical productions of the play, before turning attention to the directorial analysis of the script. Directing concepts and production designs are then outlined to trace the development of the play from rehearsals through performances to highlight lessons learned throughout the collaborative process. Unpacking the Individual: A Director's Approach to Ionesco's Rhinoceros by Chad Landon Kennedy, B.A., B.S., M.A. A Thesis Approved by the Department of Theatre Arts DeAnna Toten Beard, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee Stan Denman, Ph.D., Chairperson David Jortner, Ph.D. -
Eugène Ionesco and Norman Frederick Simpson : Satiric And
in the Deyarhent of Englisn APPROVAL Nue: David George Hadcock Anido Degree: Master of Arts Title of Thesis: ~u$ne Ionesco md 3Jormar. Frederick Simpson: Satiric and Idealia~icAspects of the Theatre of the Absurd in France and Britain Exainining Comnit tee : ---- 4 (professor Serry ZasloveJ Scnior ~upervisor) -- -..-..- - (Mrs. A'ndrea Exmizing Co - (Dr. Hari shar~na)-,_-I- -- - - - hxterr~alExaminer (Assistac~PTG~ES.~~) (Departrqent of Tolltical Scienre, Sociology an6 Anthropology) To my parents. I wish to acknowledge the cotlsidera'cle asslstance oil Dr. ~\!slcolniPzge in the preparaticn of the bibliogra~hy;cf ivlrs. Andrea Lekwitz fw the long houm spent in reading the meLxscri~L,;or' Dr. J. Z.aslove fir his instructive ad- ice arA sugges~ionsTor new directions ; of Xiss K~ze;LJr ighr for her interest in this venture and helpfui criticisw; and of Yiss Ver~a Kazakoff for her kinciness in tjpiag he firal draft. ABS'fPACr Qne of the m~stsignificant directions of the contemp~rarytheatre has come to be ct&l.ed %he Theatre of the Absurd, The purpose of this thesis is to identify the major aspect of "absurdism" (social satire) as It can be isolated in the work of ~u&e lonesco, rrlting in France, and Dorman Frederick Simpson, w~ltlng_in England, Beyond the sati~_ic elements the thesis will also illustrate how Ionesco has achieved a significant metaphysical level in his drama which presumes a personal faith in the validity of human existence and endeavour. Ionesco is a prolific writer having written over twenty plays, rtxI10 ecrlpts (~esalon de 1'- automobile)- , television scripts (~eJeune-- - Homme % ~arier),- -- scenarios (~'0eufA - ~ur), and a ballet (Apprendre- & archer).- Tn addition, the playwright has been much concerned ~5th presenting his ideas about theatre and his personal life, The two most important Jownals of Ionesco are Notes-- and --. -
Boneau/Bryan-Brown, Inc
www.boneaubryanbrown.com BONEAU/BRYAN-BROWN, INC. was formed in 1991 by Chris Boneau and Adrian Bryan-Brown, who jointly have more than 40 years of experience as press representatives on more than 400 productions on and off-Broadway, on national tour and in Europe. Chris Boneau Adrian Bryan-Brown Jackie Green Amy Kass Heath Schwartz Susanne Tighe Melissa Cohen Michelle Farabaugh Imani Punch Angela Yamarone Amanda Sales Scott Munson A representative collection of BONEAU/BRYAN-BROWN's current and upcoming clients includes: Archie, Chicago, David Byrne’s American Utopia, Harry Potter and the Cursed Child, The Height of the Storm, How I Learned to Drive, The Illusionists, Jersey Boys, The Lightning Thief, Mean Girls, Moulin Rouge!, Mrs. Doubtfire, My Name Is Lucy Barton, The Play That Goes Wrong, Six, Stomp, and Waitress. Media Training Clients can expect to develop skills in crafting an on-target message; proper preparation techniques; maintaining control of an interview and staying on message; building confidence and reducing anxiety; nurturing comfort with public and on-camera speaking; eliminating bad habits; improving personal style; and connecting with an audience for more memorable, effective experiences. Executive Coaching Clients preparing for public presentations will learn and refine the basic skills necessary for effective public speaking and receive one on one coaching on their specific presentation. Areas of focus include honing the message of your presentation; grabbing and maintaining the audience’s interest; invaluable preparation tips; eliminating bad habits; and targeting the key points of your presentation to make sure the audience walks away with the right information, and the right impression. -
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. -
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. -
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 -
The Political Theory of the New Deal
© 2010 Margot Bonel Morgan All Rights Reserved THE DECLINE OF POLITICAL THEATRE IN 20TH CENTURY EUROPE: SHAW, BRECHT, SARTRE, AND IONESCO COMPARED by MARGOT BONEL MORGAN A dissertation submitted to the Graduate School – New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Political Science Written under the direction of Stephen Eric Bronner And approved by ______________________________ ______________________________ ______________________________ ______________________________ New Brunswick, New Jersey October, 2010 ABSTRACT OF THE DISSERTATION The Decline of Political Theory in 20th Century Europe: Shaw, Brecht, Sartre, and Ionesco Compared by MARGOT BONEL MORGAN Dissertation Director: Stephen Eric Bronner Many political theorists, from Hannah Arendt and Theodor Adorno to Sheldon Wolin and Jurgen Habermas, have noted that the twentieth century was a time of an “eclipse of the public sphere” and a “sublimation of politics.” Partly due to the traumas of world war, totalitarianism, and genocide, and partly due to the absorptive capacities of instrumental reason and mass consumerism, mid-twentieth century Europe experienced an exhaustion of radical energy and a hollowing out of political discourse. This dissertation contributes to the narration of these developments by offering an account of the decline of political theater in twentieth century Europe. While since the ancient Greeks theater had been an important medium of political reflection and communication—and thus an important genre of political theorizing—by the middle of the 20th century theater became, especially in Western Europe and the United States, a medium of mass entertainment deprived of political aspiration and bite.