Dissertation Ionesco Notes Contre Notes

En ralit, j'ai surtout combattu pour sauvegarder ma libert d'esprit, ma libert d'crivain.

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The title character, who apparently owns all these things, asks only that the landlady turn out the lights as she leaves him; in a rather obvious effort to rediscover the prenatal state, he has long since been hidden from view by his possessions.

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.

In one of Ionesco’s earliest plays, , the two main characters keep bringing out chairs to seat an unseen multitude of guests.

Although the proliferation of chairs is hardly the main point of the play, Ionesco clearly appreciated the visual effect and would use it again more than once, most notably in in which furniture is carried onstage with difficulty inverse to its weight.

Considered as a whole, Ionesco’s work exhibits a number of different styles, each of them uniquely his own.

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.

, perhaps the weakest of the lot, is a highly typical Ionesco play, hampered mainly by the commonly held assumption of intended specific meaning.

One of Ionesco’s more entertaining and edifying styles, although commonly associated with his shorter plays, involves the characters in aimless speech as the stage gradually fills with objects.

, for example, would appear at first glance to be more evolved and “later” than it really is.

There is also the matter of the Tynan debate, or London controversy as it has often been called among students of Ionesco’s work.

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