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- W2470762635 abstract "In the late 1950s, Eugene Ionesco (b. 1912) took a strong stand against the Theatre of Ideas, particularly the ‘committed’ theatre of dramatists like Brecht and Sartre. ‘The theatre is not the language of ideas,’ he wrote. ‘When it tries to become the vehicle of ideologies, it can only become their popularizer. It simplifies them dangerously.’ What is more, since ideologies become outdated, he contended that plays which illustrate some particular political thought will be short-lived. The kind of theatre which he thought desirable would be neither ideological nor psychological, but exaggerated, grotesque comedy, expressing the intuition of ‘the absurd’, and sometimes underlining a sense of tragedy by means of farce: ‘it seems to me the comical is tragic, and the tragedy of man, derisory.’1 In another text, he explained how he tried in his plays to graft humour onto an emotive substance of distress which constitues the point of departure of several of them. If he was sometimes conscious of a feeling of euphoria, of freedom to act as he wished in a world that seemed to be illusory, fictitious, absurd, more often he experienced the opposite feeling of being crushed by a world which weighed heavily on him. In that world, matter seemed to fill everything, to take up all the space.2" @default.
- W2470762635 created "2016-07-22" @default.
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- W2470762635 date "1988-01-01" @default.
- W2470762635 modified "2023-09-23" @default.
- W2470762635 title "Eugène Ionesco: New Comedy" @default.
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- W2470762635 doi "https://doi.org/10.1007/978-1-349-06780-0_6" @default.
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