Eugène Ionesco

Hundred years after the birth of the Dada movement in Zürich, Tristan Tzara’s theatre is unjustly not as well known as his poetry or manifestos. Being himself a theatrical person, always staging his own personality as the leader of the Dadaists in Zürich and Paris, he refused to walk on already traced paths, in a similar way the medieval fools had done it in their search for the abolition of given rules and conventions. Turning upside down the traditional dramaturgical and staging patterns, Dadaist plays such as Mouchoir de nuages (Cloud Handkerchief) or Cœur à gaz (Gas Heart) leave behind a significant heritage if we think of surrealist performing arts and of the New Theatre of the 60’s, especially Eugène Ionesco’s and Samuel Beckett’s theatrical work. The present study focuses on how Tzara’s personality and work can be seen as part of the same genealogical theatrical line as the famous Shakespearian triad “the poet, the lunatic and the fool”, and which are the constants making of him not only an acrobat-poet (in the tradition of the antique mime and of the medieval fool), but also a path opener and a dramatic character in the history of the 20th and 21st century modern and postmodern literature.

The text proposes an interpretation of the play by E. Ionesco, La Cantatrice Chauve as the staging of what Heidegger calls in Sein und Zeit the improper exist-ence. The poetics of absurdity that Ionesco uses can be understood from the con-cepts that describe the improper existence: gossiping, curiosity, ambiguity and the “One”. The text proposes that La Cantatrice Chauve is a possible fictional model that gives shape to Heidegger´s concepts.

Dariusz Piotr Klimczak
"The Mystic of Blue. The Eugenio Ionesco’s Dramatic Eschatology of The Absurd"

In the last scene of the play Exit the King by Eugenio Ionesco the hero Bérenger called „Blue, blue!”. It' s the primary experience of the Buddhist way to the border of life and death. At the final hour of the human life the soul vanishes in the blue-grey light. This poetical scene helped the author of Exit the King in formulating on the original mysticism. The starting point of the book by Dariusz Piotr Klimczak is the qualification of the eschatology of the absurd. This problem ties in with the anthropological aspects of eschatology, that is the sphere of final things of the human. In the Misterium Mortis of the Absurd in Ionesco's plays, the eschatology of the absurd characterizes the kind of the deconstruction of immortality, but this problem coexists with the construction of mortality in relation to the creation of the space of drama, the form, the dramatic situation and in dialogues, also with the philosophy and archetypes. The dramatic eschatology in Ionesco’s plays Klimczak explain in the way of the analysis and interpretation of the chosen plays: Chairs; Exit the King; Amadee or How to Get Rid of...The Mystical space of the theatre by Ionesco changes into the swelling corpse of Amadee... and growing mushrooms in the room of dying King (Exit the King). The whole intellectual message of the eschatological code of The Theatre of The Absurd can be imported in the following statement: „No society has ever been successful in getting rid of unhappiness; no political system can free our lives from grief and the fear of death” (Ionesco).
The analysis of the thanatical motives in the drama and The Theatre of The Absurdi is the kind of a test, helping us to exit from the prison of words to the mysticism and poetry. In spite of numerous elements of farces, grotesques, „the tragedy of used language” the plays by Ionesco return to mythical and religious function of the theatre.The revelation of the Ionesco’s attitude in confrontation with the face of Death is, after the first, originally and consistently unroll the existentialism philosophy, after the second, define the drama technique. This is not only the naked truth about life, but the post-Baudelair obsession of ugliness, anti-aesthetic of the vapours of the rot all around old men and heros of Chairs, strengthened additionally of „the song about rotting together”, whether the shoking metaphor „the hen's shit in jelly to take a sip of the horse’s urine” (The Bald soprano). It will explode into the turpism, which with whole power in Amadee... and it will become softened the Buddhist experience „The Blue of Death” in the play Exit the King. This is the incessant dialectics of Memento, which Klimczak every time calls, wants to „hit”, to shake us and awake from „the nap” in the mass consumption of hypnotic mechanized vulgarity.

Le mot «absurde» est défini comme quelque chose qui n’a pas de sens ou quelque chose qui n’a pas du sens. Le théâtre de l’absurde est un terme créé par Martin Esslin, dans son livre de 1960, qui est utilisé pour catégoriser les pièces "absurdes". Ces pièces absurdes ont été principalement écrites dans la fin des années 1940 aux années 1960 par des dramaturges Européens tels que Samuel Beckett, Eugène Ionesco, Jean Genet, Arthur Adamov et Harold Pinter. Les pièces absurdes se composent généralement avec l’absence de Dieu, de la signifiance, et de la logique. Bien que des éléments absurdes soient apparus dans des pièces peu après la montée du drame grec, ce mouvement de théâtre d’avant-garde avait vraiment commencé à devenir populaire après l’un des moments les plus tragiques de l’histoire, la Deuxième Guerre mondiale.  La détérioration de l’économie européenne, le changement de pouvoir, et les décès traumatiques de plus de 60 millions de personnes ont causé un état de confusion, la dépression et le désespoir dans le monde entier.  La Deuxième Guerre mondiale a laissé le monde avec des questions sur leur existence et leur sens de la vie et cet est ce que le théâtre de l’absurde est tout au sujet. Cependant, les pièces absurdes ont besoin de plus que la remise en cause de la vie et de l’existence. En plus, pour être considéré comme une pièce "absurde", le travail doit avoir le dialogue insensé et un terrain bizarre ou non-linéaire avec l’intersection maladroite entre la comédie et la tragédie.

DÉCOR, CORPS ET MÉDECIN DANS LE ROI SE MEURT D'EUGÈNE IONESCO Dramatiser le vieillissement, l'agonie et la mort, tel est le programme de la pièce d'Eugène Ionesco Le Roi se meurt, créée en 1962. Indécence, exhibition ? Réflexion datée sur la médecine du siècle dernier ? Supposons plutôt que le grotesque et l'absurdité du théâtre de Ionesco le rendent intemporel, et nous protègent des émotions insoutenables. Il nous permet ainsi de nous aventurer sans danger dans l'univers de la souffrance, de la vieillesse et de la mort, d'y expérimenter comme en laboratoire les relations que nous entretenons avec notre corps et celui de nos semblables : peut-on rêver meilleur outil de réflexivité pour la formation des professionnels de santé ? Parmi les innombrables interprétations possibles de la pièce, je voudrais proposer deux lectures parallèles, et les centrer plus spécifiquement sur le personnage du médecin et sur le corps du Roi. Dans une première lecture, la pièce est l'histoire très ordinaire d'un vieillard, bientôt mourant, accroché à l'existence, effrayé par la mort mais qui pourtant doit s'y résoudre : c'est l'illustration exemplaire des étapes vers la mort qu'Elisabeth Kübler Ross formalisera quelques années plus tard, en 1969. Parmi les personnages qui se déchirent autour de Bérenger, le Médecin observe, analyse, commente, prophétise, ordonne, jusqu'à cette célèbre réplique : « Le pot-au-feu n'est pas recommandé pour la santé des mourants » qui semble faire de lui un pédant incompétent et cynique, incarnation d'une médecine savante mais impuissante. Mais la pièce offre un autre niveau de lecture. La personne du Roi ne se résume pas au personnage de Bérenger, elle s'étend à l'ensemble du décor, au royaume, à l'univers entier qui se dégrade inexorablement jusqu'à l'anéantissement total. Les personnages qui évoluent sur scène seraient alors des composants du for intérieur du Roi, de son intimité psychique et corporelle : les deux Reines, instincts de vie et de mort, le Garde chargé de l'expression, Bettina Granier, Décor, Corps et Médecin dans Le roi se meurt d'Eugène Ionesco 1

This article deals with the mediality of empty chairs in the works by Vincent van Gogh, Richard Weiner, Egon Schiele, Joseph Kosuth and Eugène Ionesco. These empty chairs are explored as aisthetic-affective figures pervading historical periods and cultural boundaries that offer a specific portrait of absence, which is able to intensify the subject despite its physical non-presence. The argument is based on the dialectic process of dis/appearing, posthermeneutics and the theory of the supplement.

CONTEMPORARY SHAKESPEAREAN REWRITINGS IN THE THEATRE OF THE ABSURD: STOPPARD AND  IONESCO
Abstract
This paper aims to analyze the elements of the Theatre of the Absurd in two contemporary absurdist rewritings of Shakespeare’s classics, Hamlet and Macbeth, respectively. The former is being rewritten in Tom Stoppard’s Rosencrantz and Guildenstern are Dead, while the latter is a recast of Macbeth in Eugène Ionesco’s Macbett.
The analysis is conducted by the observation of the following crucial facets of the absurdist drama taken into account: 1) the structure of the play; (2) the setting and time frame; (3) the treatment of space; (4) characterization and relationships between the characters; (5) the status of language; (6) verbal humour − black humour; (7) estrangement effect; (8) images, motifs, symbols; and 9) major themes. Through the prism of these aspects, the main purpose of the paper is to compare the plays in question, reflecting upon the presence or absence of the aforementioned features, their way of application (treatment), and characteristics in each rewritings. Furthermore, throughout the comparative analysis, a parallel is drawn between the respective modern rewritings and the original Shakespearean plays, establishing the similarities and differences concerning the alterations the authors made to the original, touching upon the reason they utilized these dramas, and the way how they subverted them, alongside the function of the deviation from the original.
The paper tackles fundamental, metaphysical questions of existence in terms of the absurdist perception of the universe as pointless and purposeless, where the authors strive to fathom and make sense of the world the characters are in, casting light upon their isolation, loneliness, alienation, the disintegration of language into disjointed fragments and the consequential breakdown of communication. The results of the research demonstrate man’s position in the universe, the themes and concerns he is preoccupied with, by attempting to pose and provide some arbitrary answers to the ontological and epistemological questions the characters are concerned with, adhering to the absurdist no ready-made solution principle, by exploring structure, space, time, language, relationships, motifs and symbols.
Key words: the theatre of the absurd, rewritings, comparative analysis, Shakespeare, Stoppard, Ionesco

Barely studied by critics, Juan Benet’s theatre presents traits that make it worthy of specific consideration. One of them is, without any doubt, humour. Much less dense than his narrative production, Benetian dramaturgy enhances a deep irony and a demystifying perspective, visible in its irreverence and inclination to parody. All these aspects are in close relationship with the poetics of the Absurd. Significantly enough, Benet was a faithful admirer of Samuel Beckett; his contribution is, on the other hand, contemporary to that of the absurdists. Consequently, it is plausible to study in parallel both manifestations, and to do it through the humourous element. Divided in four big sections, which oscillate between the abstract and the concrete, such is the objective that the present article pursues.

Yazın çevirisi alanında tiyatro çevirisi incelemeleri, yapılan çalışmaların yetersizliğinden dolayı halen ikinci planda kalmaktadır. Halbuki tiyatro metni çevirisi, sadece sıradan bir metin çevirisi değildir, aynı zamanda farklı kültürlerde ve dilde sahnelenecek bir oyun metni çevirisidir. Bu özelliğinden yola çıkarak, uyumsuz tiyatronun öncüsü Eugène Ionesco'nun gergedanlaşma hastalığına yakalanan bir grup insanı ele alan Gergedanlar oyununu incelememiz için seçtik. Oyunun, birden fazla çevirisinin bulunması kapsamlı bir çalışma gerçekleştirmemize olanak sağlayacaktır. Çalışmamız bu bağlamda, Toury'nin Erek Odaklı Çeviri Kuramı çerçevesinde oyunun farklı yıllarda ve farklı çevirmenler tarafından yapılmış olan tercümelerini, çeviri stratejileri ve işlemleri açısından inceleyerek tiyatro çeviri çalışmalarına farklı bir bakış açısı getirmesini amaçlamaktadır. ABSTRACT The Analysis of Turkish Translations of Eugène Ionesco's Theatre Play " Rhinoceros " The analysis of theatre translations in the field of literary translation remain in the background due to limited number of studies. However, translation of theatre text is not just an ordinary literary text translation, but also a text to be staged in different cultures and languages. Taking into consideration this feature, we chose Eugène Ionesco's " Rhinoceros " play in which there is a group of people, succumbed to rhinoceritis sickness. That there is more than one translation of this play will allow us to carry out an extensive study. In our study, we aim to bring a different perspective to the field of theatre translation by analyzing the Turkish translations of the play translated in different years and by different translators, with regard to translation strategies and procedures within the scope of Toury's Target-Oriented Translation Theory.

Département de français Master d'études littéraires LA MORT CHEZ IONESCO, UNE OBSESSION PERMANENTE Projet de Master 1 Par Mohamad HOMICHE Sous la direction de Dr. Rim CHAMIÉ 2011-2012 2 3 Dédicaces et remerciements Je dédie ce travail aux yeux de mes yeux, à la belle rebelle, celle qui m'a appris comment souffrir, comment résister, aux amis et aux camarades... Assurément au peuple syrien qui a suffisamment souffert de la mort. Je remercie Mme Chamié, pour ses remarques, surtout pour le soutien par les références diverses et jamais oublier sa gentillesse. Ce qui nous a fait orienter vers Ionesco, c'est qu'on n'a vraiment beaucoup de choses à comprendre à travers les mots, il s'agit uniquement de vivre, on n'a pas un vice à corriger, ni un méchant à châtier ou un bon à récompenser. Ce qu'on a c'est une vie à vivre telle qu'elle est. Dans ce travail, on va essayer d'élucider la conception de la mort chez Ionesco et voir sa réflexion sur son oeuvre dramatique, essayant quand même de suivre la progression de cette conception ; d'abord, la mort verbale dans la Cantatrice Chauve et la Leçon, ensuite, la mort matérielle dans Amédée ou comment s'en débarrasser. C'est évident que dans un travail de trentaines de pages, Il nous sera difficile de tout cerner, pourtant, des idées intéressantes pourraient exister dans cette approche dont le thème est universel et nous touche à fond.

Cântăreața cheală "se piaptănă în același fel", iar Lecția bate pasul pe loc "Mi-am dat seama, în cele din urmă, că nu voiam să fac antiteatru, ci teatru. Sper că am regăsit în mine însumi, intuitiv, schemele mentale permanente ale teatrului. La urma urmelor, eu sunt pentru clasicism: aceasta e avangarda. Descoperirea de arhetipuri uitate, neschimbătoare, înnoite în expresie: orice adevărat creator este clasic." (Eugène Ionesco 301 ) Frondă și clasicism Simptomul modernității este, nu o dată, reflexul anti: ca atitudine intelectuală, ca modalitate de integrare prin ruptură în actualitatea și apoi în istoria culturală. Există totuși rebeli (și) avangardiști care se convertesc la clasicism. Scriitori moderni, precum Gide 302 sau Ionesco, redescoperă programatic un fel de evergreen: 301 Eugène Ionesco, Note și contranote, traducere și cuvânt introductiv de Ion Pop, ediția a doua, București, Humanitas, 2002 (după ediția Gallimard, 1962, p. 176. 302 Pentru André Gide, așa cum lămurește el însuși, clasicismul -acela francez, în primul rând -"tinde întru totul către litotă. Este arta de a exprima cât mai mult spunând cât mai puțin. O artă de pudoare și modestie. Fiecare dintre clasici este mai emoționat decât lasă să se vadă de la început. Romanticul, prin fastul pe care-l conferă expresiei, tinde întotdeauna să pară mai emoționat decât e în realitate, așa încât la romantici, cuvântul precedă și debordează emoția și gândirea (...). Lipsind știința de a pătrunde și înțelege ceea ce au spus ei pe jumătate, clasicii au părut reci și a fost luată drept defect cea mai rafinată calitate a lor: rezerva" (Gide, Incidences, Paris, . 303 Ionesco, "Experiența teatrului", în Note și contranote, op. cit., pp. 73 -74. "Nici suprarealismul nu e nou. (...) este el însuși o întinerire a romantismului" (Ibidem). 304 Ionesco, "Mărturii", în Note și contranote, op. cit., 202.

The questioning through the absurd of the political ideology: Eugène Ionesco
Eugène Ionesco argues that the artwork should provoke and crystallize a complex variety of disputations, to which it may answer, or it may pose wider questions that may lead to an «unbearable impasse». At the same time, however, the dramatist is opposed to the topics selected on the basis of an «ideological fashion», expressing a very specific political thinking, leading the plays to «die» along with the ideology they support, as ideologies «are erased». He does not consider the theater as a language of ideas. He believes that theater, when it tries to become an operator of ideologies, it vulgarizes them, it simplifies them, it decreases them. Every ideological theater is nothing but a guided theater, while theater should be a real and original impulse, which owes nothing to anyone else beyond itself. However, the theater of Ionesco, by no means political or in the service of a «fixed» ideology, is coming out especially penetrating and «annoying», as it criticizes strongly and it «resists» intensively, through its irrational means and its anarchist humour, to the «bourgeoisism», to the ideological conformism and to the «fixed conventional systems», in short, to any kind of «rinokeritis».

La fecunda influencia de Samuel Beckett y Eugene Ionesco en las primeras piezas de Fernando Arrabal es el tema de este artículo, que busca subrayar asimismo el papel central que jugó el contexto bélico del que surgirá la obra de este original autor español, una coyuntura traumática que también compartirán sus modelos precursores. La infancia transcurrida en medio de la guerra civil española será llevada al escenario a través de una propuesta teatral que, aunque se inscribe en la corriente del Teatro del Absurdo, tendrá dentro de la misma un sello distintivo que resultará importante dilucidar.

Rhinoceros by Eugène Ionesco (1959) presents the gradual literal and metaphorical transformation process of characters into rhinoceroses under the strong influence of the dominant ideology throughout the play. Ionesco’s play discusses and highlights the significance of maintaining one’s own individuality instead of mere adherence to a manipulative ideology through the struggle of the main character, Berenger. Berenger is in this respect different than other characters who adopt the represented ideology that does not tolerate plurality and diversity of opinions. The more characters turn into rhinoceroses, the stronger Berenger’s feeling of solitude and loneliness gets, which increases his alienation from his society. This study will in this regard give brief relevant information about the Theatre of the Absurd; then briefly introduce Eugène Ionesco as a playwright; and finally discuss the literal and metaphorical transformation process of the characters into rhinoceroses, which stands for the gradual loss of their individuality with specific references from the primary source and relevant secondary sources.

This paper deals with the language used by one of the most famous modern writers
EUGENE IONESCO (1909-1994), in his plays The Chairs and The Bald Soprano. Ionesco is the
writer whose sense of literature incorporated with the experiences he gained from his life and the
observations that he made in society and people around him. The usage of language in his works
we can say, to some extent, is quite similar to other modern writers who motivated their thoughts
and writing skills to write in an absurd manner and portray the extreme level of absurdity of
human and worlds in their works. But as every writer is having their own way of flourishing the
works, like through plot, character, dialogues, scenes and so on. Ionesco too had his way of
presenting the levels of absurdity in the society and his technique was „Language’. He is often
called as Man of Anti-Theatre, because of his presentation of language as an impossible means of
communication. The paper will present these points briefly and will focus on the two above
mentioned texts in detail.

The subject matter of this article is the two plays of the “Theatre of the Absurd”: Samuel Beckett’s “Waiting for Godot” and Eugene Ionesco’s “Rhinoceros”. Firstly by drawing upon Camus’ interpretation, it investigates the concept of the “absurd” and the ways in which the term is deployed in these texts. In the course of undertaking a close reading of the both texts, this article provides an outlook for the instances at which particular resistances are actualized either with or against language. Thereafter, another point of investigation will locate the traces of the Lacanian “jouissance” with regards to the resistance referring to the reinterpretation of the term by Barthes. In reference to the continental philosophers such as Blanchot, De Man, Benjamin and Adorno, this article intends to initially present and further elaborate on the “absurdity” of the both texts. In doing so, the concepts language, resistance, politics and being will be subjected to critical interrogation.

Wokół terminologii związanej z dramatem i teatrem absurdu narosło wiele nieporozumień, tautologicznych uogólnień, tak że autonomiczne pojęcie absurdu straciło jakikolwiek wyrafinowany sens. W niniejszym artykule Dariusz Piotr Klimczak dokonał całościowej refleksji nad absurdem, jego literackim i teatralnym kształtem, wyznaczonym przez ostatnią Awangardę minionego stulecia.
W pierwszej części artykułu naszkicowano w zarysie fenomen dramatu i teatru absurdu. Druga część służy ekspozycji głównych założeń Manifestu Patafizycznego Alfreda Jarry oraz Manifestu Absurdystycznego Nowego Teatru Eugenio Ionesco. W trzeciej części, skupiając swoje rozważania na zaletach i wadach Esslinowskiej definicji dramatu i teatru absurdu, Klimczak przedstawił rozmaite sposoby terminologicznych deszyfracji a b s u r d u, (ab absurdo per absurdum ad absurdum). W kolejnej części Autor referuje dwie charakterystyczne optyki badań nad dramatem i teatrem absurdu, które określa mianem:
k w e s t i i  a b s u r d y s t y c z n e j  oraz  k w e s t i i  p o s t m o d e r  n i s t y c z n ej, jednocześnie ten fragment artykułu poświęcając, zapomnianej i nie dostrzeżonej w badaniach teatrologicznych, refleksji nad  t e o l o g i ą  p o e t  y c k ą  d r a m a t u (par excellence dramatu i teatru absurdu). W piątej części Autor przedstawia charakterystyczne modele THEATRUM MUNDI, zastanawiając się, czy teatr absurdu jest teatrem bez świata? Wreszcie, finalmente!, w ostatniej części prezentowanego artykułu absurdolog dokonał uściślenia pojęć a b s u r d 
i  g r o  t e s k a oraz ukuł, wykrystalizowaną z matrycy patafizyki Jarry’ego, ostateczną, zwartą definicję dramatu i teatru absurdu.

This study aims to highlight an important issue concerning the onset of Ionesco's career as a playwright, more precisely his theoretical views on the subject of theatre and also his metatheatrical preoccupations that can be observed in the analysis of English Without Teacher (Englezeşte fără professor), the Romanian variant of The Bald Soprano. Ionesco's early theatrical attempts are explicit metatheatrical constructions, very similar to those built by L. Pirandello in Six Characters in Search of an Author. For the history of the early 20 th century's theatre, Pirandello's radical metatheatrical message represents an act of theatrical pedagogy that can be analyzed on three related dimensions: an analysis of complex theatrical machinery, a denial of the then popular Boulevard Theatre, and an act of criticism against the cultural and aesthetical practices of the epoch. In effect, Pirandello's metatheatrical experiments represent explicit and promising manifestations for the renewal of the European theatre; and here one should also notice the implicit criticism against the ideological structures that were populating the cultural imaginary of the time. Ionesco's early play follows the aesthetical and cultural principles generated by Pirandello's iconoclast views. The play English Without Teacher is built as an act of dispute with the theatrical space and with the spectator's cultural expectations, and finally it becomes an attempt to critically reevaluate the theatre and its potential. In short, this is an act of theatrical self-pedagogy that will later lay the foundations for the theatrical experiments that were to come.

Cette étude a pour objet de dévoiler, dans un premier temps, quelques dénonciations et critiques de Ionesco qu’on a repérées dans "Rhinocéros", avec une attention spéciale portée au phénomène de massification. Ensuite, dans un deuxième temps, on analysera le côté comique de la pièce.

Erdal Öz, 12 Mart Muhtırası'ndan etkilenmiş ve o dönemde yaşadıkları edebî kalemine sinmiş bir sanatçıdır. Yaralısın romanı bu süreçte yaşadıklarının isim, yer ve zaman belirtilmeden ama derin bir dil kullanımıyla okura hissettiren önemli eserlerindendir. İkinci tekil şahıs anlatımının hâkim olduğu romanda birçok Nuri ile geçen bir gün geri dönüş teknikleriyle işlenmektedir. Mekânda genellikle iç mekânlar ağır basmakla beraber eşya detaylarına giderek kasvet çökmektedir, bu kasvet ise bilincin değişimiyle uyumlu ilerlemektedir. Zaman akışı, hapishane anına gelindiğinde oldukça yavaşlamaktadır; geri dönüşlerle hatırlanan işkence anları, kahramanın evinden alınış anları bilinci geçmişe yöneltirken anda ne yaşadığının silikleşmesine sebep olmaktadır. Bu çalışmada; Eugene Ionesco'nun Gergedanlar adlı oyununda gergedanlaşma üzerinden ele alınan tektipleşmeye paralel olarak, Erdal Öz'ün Yaralısın romanında hapishane ortamında insanların Nurileşmesi üzerinden tektipleşmeyi ele alışı irdelenecektir.

Résumé
Le théâtre d'Eugène Ionesco fait l'objet d'un paradoxe: son «avant-gardisme» spectaculaire se nourrit d'une vision essentiellement classique. Plus précisément, Ionesco envisage des «archétypes oubliés», et cherche à les «renouveler» sous l'aspect de l' expression dramatique, tel qu'il dit lui-même. Son «antithéâtre» pousse ainsi à l'extrême le ressort expressif du genre. Ionesco ne s'essaye plus à un théâtre d'événements, ni à l'intrigue bien faite à la manière d'Ibsen et du drame realiste du XIX-ième siècle; tout au contraire, il tente l'expérience d'un théâtre voulu «abstrait», «nonfiguratif», dépourvu du référent extra-théâtral circonscrit par l'imitation vraisemblable (mimesis) que recommande Aristote; quelquefois, un théâtre d'énergie pure, préconceptuelle − sonore ou kinésique −, comme dans ses «anti-pièces» (La Cantatrice chauve, La Leçon).
Les nouvelles dites «fantastiques» de Mircea Eliade avancent également, d'une manière plus ou moins implicite, une certaine poétique du théâtre. Celle-ci repose essentiellement sur l'aptitude sotériologique de l'art. La figure exemplaire en est le Poète orphique. Chez Mircea Eliade, la thèse bien connue du «sacré camouflé dans le profane», épouse le principe-clé d'un «nouveau» théâtre. À son avis, le vrai théâtre croise l'ancien rituel, et le drame revient ainsi au dromenon; c'est-à-dire, à l'ancienne (re)présentation rituelle, de la tradition des cultes de mystères, censés révéler les grands mythes fondateurs et ce qu'ils disent de la destinée humaine.
Notre travail porte donc sur la remise en question du mécanisme théâtral de souche aristotélicienne, que tente à la fois Mircea Eliade et Eugène Ionesco, chacun à sa façon. On envisage principalement les aspects suivants:
a) tout d'abord, la poétique théâtrale dont quelques nouvelles de Mircea Eliade sont à même de rendre compte: Nouăsprezece trandafiri [Dix-neuf roses], În curte la Dionis [Dans la cour de Dionis], Incognito la Buchenwald [Incognito à Buchenwald], Uniforme de general [Uniformes de général] ;
b) deuxièmement, l'imaginaire de Ionesco vu par Eliade; la dissolution du «théâtre de l'absurde» (tel que le désignait Martin Esslin) dans un théâtre plutôt mythique, voire mystique (selon Marguerite Jean-Blain), «théâtre des origines» à la manière d' Antonin Artaud et des «archétypes oubliés», comme disait Ionesco;
c) en troisième lieu, la dissolution chez Ionesco, d'une dichotomie essentielle de l'esthétique classique: tragique vs. comique; d'où la tragi-comédie sur laquelle repose symptomatiquement son antithéâtre;
d) enfin, l'(anti)théâtre d' Eugène Ionesco − ou tel qu'il dit, son «théâtre abstrait» − en tant que  mise à l'oeuvre et mise à l' épreuve d'une certaine poétique du «nonfiguratif», dont se réclame le dramaturge.

Mots-clés:  poétique, théâtre, absurde, abstrait, nonfiguratif, mimesis, rituel, archétype, Aristote, Artaud, Pirandello, Ionesco, Eliade.

Tiyatro ve çeviriyi bir araya getiren bu kitap, 20. yüzyılda ortaya çıkan absürd tiyatroyu başta Eugène Ionesco olmak üzere
Samuel Beckett ve Arthur Adamov gibi öncüleri de ele alarak Ionesco’nun Türkçeye çevrilen oyunlarını incelemektedir.
Dil oyunları, Anlamsızlık ve Tekrarlamalar gibi özellikler üzerine kurulu olan bu oyunlar, hem sahneleme açısından hem de çeviri açısından dikkate değer eserlerdir. Türkçeye çevrilen oyunlarından alıntılanan örneklemler, ‘Yorumlayıcı Çeviri Kuramı’ çerçevesinde incelenmekte, Ionesco’nun tiyatrosuyla ilgili teatral bir çeviri eleştirisi yapmaktadır.

L’un des promoteurs du théâtre de l’absurde, Eugène Ionesco, se déclarait aussi disciple du classique du théâtre roumain : I. L. Caragiale. Ainsi, il a impliqué dans sa démarche de traduire les comédies de Caragiale en français, Monica Lovinesco, figure importante de l’exil roumain à Paris pendant La guerre froide et fille d’un des plus grands critiques littéraires roumains (Eugen Lovinescu). Leur ouvrage porte la titulature : « I. L. Caragiale, Théâtre (Une nuit orageuse ; M’sieur Léonida face à la réaction et Une lettre perdue [œuvre traduite seulement par Monica Lovinescu]), Paris, L’Arche, 1994 ». En continuant sa passion pour la traduction de Caragiale, Ionesco a récidivé, insérant à la fin de son ouvrage popularisant l’histoire de la littérature roumaine en France (Littérature roumaine, Cognac, Fata Morgana, 1998) une traduction d’un court texte humoristique appartenant à Caragiale : Grosse chaleur.
L’UNESCO a ensuite déclaré officiellement l’année 2002 : Année Caragiale pour le 150e anniversaire de la naissance du dramaturge. Mais, le Gouvernement roumain, par l’intermédiaire du Ministère de la Culture et des Cultes, a édité à cette occasion dans la collection UNESCO dédié aux « œuvres représentatives » la variante française de son œuvre dans la traduction de Paola Bentz-Fauci. La collection comprend ses quatre comédies classiques, la tragédie "Năpasta" (La Disgrâce), la nouvelle "1 Aprilie" (1-er Avril) : Ion Luca Caragiale, Théâtre, Paris-Bucarest, Collection UNESCO d’œuvres représentatives, Monitorul Oficial, 2002, 576 p.
Notre étude propose une critique parallèle de ces remarquables démarches traductrices.

The Complete Conference Talk given by Alain Robbe-Grillet at the 1996 Oxford University Alain Robbe-Grillet Conference (September). Presented in the Original French of Alain Robbe-Grillet, transcribed in English by Edouard d'Araille. Robbe-Grillet discusses the relationship between his novel-writing and film-making pursuits, which embraced the New Novel and the New Wave. He looks at the different nature of telling a story through words, and telling a story with images and sound. And of course he discusses his writing/film collaboration with Alain Resnais that resulted in their iconic work 'Last Year at Marienbad'. Robbe-Grillet's talk ranges through the fiction styles of Balzac and Flaubert, the dream analysis of Freud, the films of Michelangelo Antonioni and his own novels and feature films, among other topics. Personal anecdotes mix with theoretical reflections on art theory and the difference between the task and means of the writer and filmmaker are elucidated better perhaps than anyone before. Robbe-Grillet's brief Q&A after giving this talk is included at the end of this talk, in which he responds to some challenging questions from professors Roch C. Smith, Anthony Fragola and Ben Stoltzfus.. This paper is extracted from the complete conference proceedings published as 'In the Temple of Dreams' (1999/2006/2016).

内容摘要：戏曲对“荒诞剧”有过两次改编，分别是1982年魏子云改编自《椅子》的《席》和2005年当代传奇剧场的《等待果陀》。虽然看似相去甚远，但戏曲与荒诞剧在思想背景和表演形态上均可呼应，如禅宗思想和丑角代表的喜剧精神上。《席》的主创并未深挖尤奈斯库与中国文化的共性，加之缺乏统筹的导演，作品沦为创新不足的应景之作；而当代传奇剧场的团队在高扬艺术家主体性的同时，充分把握原著的精髓和京剧的长短，突破剧种对演员的限制，丰富了戏曲跨文化改编的可能性。由此亦见对话原则和艺术家能动性对跨文化戏曲改编的重要意义。

关键词：荒诞剧 京剧 《席》 《等待果陀》 跨文化戏曲


The Feast and Waiting for Godot: Jingju’s Adaptation of Absurdist Plays
Abstract: There have been two cases of xiqu’s adaptation of plays from the so-called theatre of the absurd, one of which is Wei Zi-Yun’s adaptation of Eugène Ionesco’s The Chairs in 1982 and the other Contemporary Legend Theatre’s adaptation of Samuel Beckett’s Waiting for Godot in 2005. Absurdist plays and xiqu have much in common, particularly their relationship with Chan Buddhism and the comic spirit embodied by the clown/chou. This was ignored in The Feast, the adaptation of The Chairs, and emphasized in Waiting for Godot. Therefore, with no director to coordinate various parties, The Feast lost what it could have obtained from Ionesco. On the other hand, artists in Contemporary Legend Theatre highlighted their agency and a good understanding of both Beckett and jingju, which ended in a creative violation of jingju’s conventions. Thus the encounter between xiqu and theatre of the absurd in 2005 opened a new ground for intercultural xiqu, which demands the principle of dialogue and the valorization of artists’ agency.

Practitioners of xiqu (traditional Chinese theatre) have long appropriated Western plays and theatrical ideas to modernize Chinese tradition for new theatricalities. Primarily, plays driven by plot and characterization have been selected to highlight themes germane to Enlightenment modernity. Yet recently, there have been a few intercultural attempts to adapt the so-called Absurdist drama with xiqu, in a deliberate deviation from metanarratives that have characterized modern Chinese theatre for nearly a century, to better reflect the existential conditions of contemporary individuals. By investigating the actors’ reframing of nothingness in Shanghai Kunqu Opera Troupe’s adaptation of Eugène Ionesco’s The Chairs, this article argues that Ionesco’s original absence-presence dynamic has been displaced and transformed in the Chinese context; his concern with frightening nothingness is replaced by kunju’s philosophical reflection on emptiness, which aims at a positive negativity. This adaptation also suggests a new path for Western modernist plays to communicate with classical Chinese culture.

Mesajele nu au nici un efect asupra mea. În acest moment, mi-e totuşi atât de rău încât îmi este greu să scriu. Nici ideile nu-mi vin când durerea este atât de violentă. Este aproape ora 5, va veni noaptea, noaptea pe care o detest dar care îmi aduce totuşi, câteodată, un somn atât de plăcut. Mi se joacă piesele cam peste tot în lume şi cred că aceia care se duc să le vadă râd sau plâng, fără a simţi dureri prea violente. Ştiu că se va sfârşi curând, dar, cum am spus-o de curând, fiecare zi este un câştig. Mi-e greu să continui, din pricina acestui vid existenţial. Câteodată vin să mă vadă prietenii, câţiva prieteni devotaţi. Îmi face mare plăcere să-i văd, dar după o oră obosesc. Oare ce altceva făceam, mai bine, înainte? Cred că mi-am pierdut timpul şi că am alergat în van. Îmi simt mintea goală şi mi-e greu să continui, nu din cauza durerilor ci a acestui vid existenţial de care e plină lumea, dacă pot spune că lumea este plină de vid. Ca de obicei, mă gândesc că poate voi muri în această seară sau, să nădăjduim, mâine ori poimâine. Sau, chiar, cine ştie cât timp mai târziu. Când nu mă gândesc la tot ce poate fi mai rău, mă plictisesc. Câteodată mă gândesc că mă gândesc, mă gândesc că mă rog. Cine ştie, poate că va fi totuşi ceva, va fi ceva. Poate că "după", va fi bucuria. Care este forma lui Dumnezeu? Cred că forma lui Dumnezeu este ovală… Am fost ajutat de mulţi oameni cărora le datorez recunoştinţă. Am fost ajutat în carieră-carieră, cum se spune-de un mare număr de oameni cărora le datorez recunoştinţă. A fost, mai întâi mama, care m-a crescut, care era de-o incredibilă tandreţe şi plină de umor în ciuda faptului că unul dintre copii îi murise la o vârstă fragedă şi că fusese abandonată-după cum am povestit adesea-de soţul ei, ce a

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The so-called theater of the absurd is commonly regarded to expose first and foremost the absurdity of life in the sense of the human condition. In contrast to this assumption, this article argues that at the beginning of Ionesco’s and Beckett’s dramatic careers, both playwrights attempt to stage the absurdity of traditional theater rather than the absurdity of the world we live in.

"When looking back at the early history of photography, one is reminded that its protagonists made work that took on all of the long-established genres then found in painting: istoria, or edifying narrative, genre, or scenes from daily life, portraiture, still-life, and landscape. Furthermore, once established, photography swiftly took over one of the tasks that was traditionally reserved for painting, drawing, and sculpture, namely seizing the likeness of a person. Additionally, photography helped bring about the death of what was lauded -since the Early Renaissance- as the highest mission of the painter: the rendering of istoria. 

As if that were not enough, photography soon sought to take over the very look of paintings. I am thinking of the Pictorialist tradition circa 1900, which sought to evoke the softness of painting -a counterpart to Leonardesque sfumato, the atmospheric qualities in, say, Turner or Innes, and Impressionist brushwork. Additionally, photography could recreate scenes from the past, in emulation of painting, theatre, prose writing, or poetry -as in F. Holland Day’s The Seven Words (platinum prints, 1898, Metropolitan Museum of Art, New York)".