Dezember 2007 war Ionesco damals außerhalb Frankreichs der mit Abstand am häufigsten gespielte französische Theaterautor. The Theater of the Absurd. Although uneven in quality, perhaps least effective when the author seemed to have a specific message in mind, his theater is nevertheless sufficiently rich and varied to provide rewarding work for future generations of actors and directors. Neither fish nor fowl, Rhinoceros, as commonly interpreted, can neither swim nor fly. Short fiction: La Photo du colonel, 1962 (The Colonel’s Photograph, 1967). Theatre Productions. Als genuiner Dramatiker machte er aus dem Roman aber sogleich auch ein Stück, Ce formidable bordel! Partially set in a futuristic “Radiant City,” probably inspired by the projections of the architect Le Corbusier, The Killer marks the first appearance of the protagonist Bérenger, a partially autobiographical Everyman-figure to be featured in several more plays of Ionesco’s middle period. (The bell in fact sounds three times, at rather long intervals, before the Chief sees fit to show himself.) Ionesco, Eugene, "The Lesson" (1969). Ab den 1980er Jahren trat Ionesco auch als Maler hervor. 1966, pr. Rivaled only by The Killer, Exit the King is perhaps the strongest and best realized of Ionesco’s later plays, deserving more frequent revivals than it has received. 1 (1996). Based on a short story in fact entitled “La Photo du colonel” (“The Colonel’s Photograph”), The Killer quickly departs from simple satire in its deliberately uncertain distinction between the act of murder and the basic fact of death. Following the belated success of The Chairs, Ionesco embarked on the most prolific phase of his career, producing more than a dozen short sketches and oneact plays as well as his first full-length plays, including Amédée and Victims of Duty. 1958 (The Killer, 1960); Plays, pb. Im selben Jahr wurde mit Rhinocéros erstmals ein Stück von ihm in seinem Geburtsland Rumänien aufgeführt. 1962, pb. in German 1959, pb. | Im gesellschaftskritischen Aspekt seines Werks und in seinem ausgeprägten Sprachhumor ist u. a. der Einfluss des rumänischen Schriftstellers Ion Luca Caragiale (1852–1912) erkennbar. Whether (as is doubtful) Ionesco’s dramaturgy was in any way influenced by Camus’s speculations on the absurd, his writings, both expository and creative, give evidence of a deep sensitivity and strong moral conscience of the sort commonly associated with The Myth of Sisyphus and its author.

Von Paris aus, das damals für alle intellektuellen Rumänen maßgebend war, belieferte er rumänische Zeitschriften mit Neuigkeiten aus der Pariser literarischen Szene. Let us arithmetize a little now. Als Ionesco 84-jährig in Paris starb und auf dem Cimetière Montparnasse begraben wurde, war er nicht nur ungekrönter König des sog.

It therefore seemed quite fitting that Ionesco, nearly forty years after Traveller Without Luggage, should balance Anouilh’s speculative fantasy with a highly convincing rebuttal. 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 The New Tenant, in which furniture is carried onstage with difficulty inverse to its weight. PROFESSOR: It wouldn't be too tiresome for you to tell me ... PUPIL: Not at all, Professor, go on. In each of his plays, Ionesco seems to be exhorting his audience to “rehumanize” the world before matters get worse than they already are.