The Chairs Program
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PDF Download Rhinoceros, the Chairs, the Lesson
RHINOCEROS, THE CHAIRS, THE LESSON: WITH THE CHAIRS PDF, EPUB, EBOOK Eugene Ionesco,Derek Prouse | 224 pages | 01 Sep 2008 | Penguin Books Ltd | 9780141184296 | English | London, United Kingdom Rhinoceros, The Chairs, The Lesson: WITH The Chairs PDF Book The stage action is both startling and certainly comical, with a woman dropping her groceries but keeping hold of her cat, and a number of simultaneous conversations overlapping with similar questions and responses. We therefore associate it with our youth, when we were immature. Humane, maybe not so much. In these three 'antiplays' dream, nonsense and fantasy combine to create an unsettling, bizarre view of society. There are no discussion topics on this book yet. It starts with a reticent professor welcoming a bright, confident student for private lessons until he begins to manipulate the power of knowledge and the roles are slowly reversed, building to a creepy ending and creepier final revelation. I suppose The Lesson really does belong to the Theater of the Absurd, and I confess that I simply didn't get understand it at all. Many think he reached his playwriting peak with Rhinoceros , in Thank you! Original Title. Her test is first period. At the same time, the text of The Chairs conveys a pathos and humanity beneath the surface antics, like the best of silent film performances. Set Design A designer's model for a possible set for the play. He was the recipient of the Landisman Fellowship awarded to an emerging designer. Book Description Penguin Classics , Girl: Because I want to get into a good college. -
Rhinoceros Includes a Brief Discussion on the Theatre of the Absurd, a Detailed Study Guide and Analyses of Important Characters and Themes
1. Learning Objectives This study material on Rhinoceros includes a brief discussion on the Theatre of the Absurd, a detailed study guide and analyses of important characters and themes. After going through this study material you should be able to, - outline the plot of the play, - write about the major issues raised by Ionesco, and - formulate your personal perspective on Rhinoceros. The primary motive of this study material is to encourage students to develop their own understanding and critique of several complexities offered by the play. 1.1 The Theatre of the Absurd The Theatre of the Absurd, broadly speaking, refers to a style of writing followed by European playwrights between 1940 and 1960. It developed as a reaction to the horrors of World War II, as a rebellion against traditional culture and literature. These writers reflected on the futile human struggle to understand the meaning of existence. Existentialism provided the philosophical underpinning for this theatre. ‘God is dead’: Friedrich Nietzsche’s declaration encapsulated the loss of faith in a benevolent higher power. It opposed the idea of human rationality, an intelligible universe and the individual’s capacity for heroism. The 1940s saw the spread of the ideas of existentialist philosophers like Jean-Paul Sartre and Albert Camus, who viewed the human being as a reduced entity, existing in isolation and alienation, living a purposeless life. According to Camus, absurd designated the condition of man in an alien, ‘unknown’, hostile universe. He explained this in his philosophical essay The Myth of Sisyphus (1942); A world that can be explained by reasoning, however faulty, is a familiar world. -
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 and the Chairs Two One-Act Plays by the Master of Absurdism
PRESS RELEASE For Immediate Release Friday, October 30, 2009 CONTACT: Patrick Finlon, Marketing Director 315-443-2636 or [email protected] Syracuse University Department of Drama presents: The Bald Soprano and The Chairs Two One-Act Plays by the Master of Absurdism Written by Eugene Inoesco Directed by Rodney Hudson ARTHUR STORCH THEATRE at SYRACUSE STAGE Opens: November 13 Closes: November 22 (Syracuse, NY)— These master works from theatre of absurd soar to heights of the ridiculous with word-twisting, innovative comedy. Eugene Ionesco is a giant of 20th century playwriting who took all the conventions of the stage and turned them upside down to offer stunning perspectives on theatre and the world it reflects. With a strong sense of the outrageous, Ionesco reminds us that, "The human drama is as absurd as it is painful." Presented by the Department of Drama in The College of Visual and Performing Arts (VPA) at Syracuse University, The Bald Soprano and The Chairs run November 13-22. Themes and content recommended for ages 16 and up. For tickets, call 315-443-3275 or visit www.vpa.syr.edu/drama. Both The Bald Soprano and The Chairs are considered standards in what has been coined as Theatre of the Absurd. First popular in the 1950s and 1960s, Absurdism reflects a philosophy presented by Albert Camus—that the human condition is basically meaningless, and that explaining the world in a logical manner is not possible. In absurdist plays, there is a comical take on serious topics—death, alienation, and evil—in an effort to understand them better. -
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. -
The Theme of Victim in the Works of Eugã¨Ne Ionesco
· , , THE THEME OF VICTIM IN THE ~ WORKS OF EUGENE IONESCO THE THEME OF VICTIM IN THE WORKS OF EUGENE IONESCO by Myrna Deverson, B.A. A Thesis Submitted to the Faculty of Gl~aduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts . ~:':;-~.: McMaster University October, 1978. Master of Arts (1978) McMaster University (Romance Languages) Hamilton, Ontario ~ TITLE: The Theme of Victim in the Works of Eugene Ionesco AUTHOR: Myrna Deverson, B.A. (McMaster) SUPERVISOR: Dr. B.S. Pocknell NUMBER OF PAGES: vii, 148 ABSTRACT The reality of man's existence became a great source of inspira tion in Eugene Ionesco's theatre. The aim of this thesis is to exa- mine Ionesco's ideas on the victimization of man in his universe. In our present~tion of his concepts, examples will be shown from various works (La Le"con, La Cantatrice Chauve, Les Chaises, Jacques " ~ ou La Soumission, Rhinoceros, Victimes du Devoir, Amedee ou Comment - s'en debarrasser, and Jeux de Massacre) in order to fully examine his particular vision of life. Such a study aims at bringing about a realization and understanding of the conditions man is exposed to in the universe. iib ACKNOWLEDGEMENTS I should like to express my appreciation to Dr. B.S. Pocknell, whose advice and encouragement have been invaluable to me in the com position of this dissertation. iii TABLE OF CONTENTS Introduction Chapter I Victims of Language in La Lecon 1 ;) Victims of Language in La Cantatrice Chauve and Les Chaises 27 Chapter II Victims of Social Pressures in Jacgues ou La Soumission 50 Victims of Political Pressures in Rhinoceros 79 Chapter III Victims of the Absurd 104 Victims of the Nightmarish World of the Present in Victimes du Devoir 106 Victims of a Death-like Existence in Amedee ou Comment slen debarrasser 116 Victims of Death in Jeux de Massacre 125 Conclusion 136 Bibliography 139 iv INTRODUCTION Ionescols contribution to contemporary drama is of signifi- cant value to mankind because of its sincere attempt to re-establish an awareness of the human condition. -
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. -
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 -
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 .........