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Eugène Ionesco complex de apărare anti-îmbătrânire mic alchimist the genius of the absurde theatre Eugène Ionesco born Eugen Ionescu, November 26, — March 28, was a Romanian and French playwright and dramatist, one of the foremost playwrights of the Theatre of the Absurd.

Beyond ridiculing the most banal situations, Ionesco's plays depict in a tangible way the solitude and insignificance of human existence. Background Ionesco was born in Slatina, Olt County, to a Romanian father of the Orthodox religion and a mother of French and Greek-Romanian heritage, whose religion was Protestant 10 cele mai bune alimente anti-îmbătrânire antioxidanți religion into which her father was born and to which her originally Greek Orthodox mother had converted.

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Eugène himself was baptized into the Romanian Orthodox religion. Many sources cite his birthdate asthis error being due to vanity on the part of Ionesco himself. He spent most of his childhood in France, and, while there, had an experience he claimed affected his perception of the world more significantly than any other. As Deborah B. Gaensbauer describes in Eugene Ionesco Revisited, "Walking in summer sunshine in a white-washed ingrijire corporala barbati village under an intense blue sky, [Ionesco] was profoundly altered by the light.

When he "floated" back to the ground and the "light" left him, he saw that the real world in comparison was full of decay, corruption and meaningless repetitive action.

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This also coincided with the revelation that death takes everyone in the end. Much of his later work, reflecting this new perception, demonstrates a disgust for the tangible world, a distrust of communication, and the subtle sense that a better world lies just beyond our reach.

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Echoes of this experience can also be seen in references and themes in many of his important works: characters pining for an unattainable "city of lights" The Killer, The Chairs or perceiving a world beyond A Stroll in the Air ; characters granted the ability to fly A Stroll in the Air, Amédée ; the banality of the world which often leads to depression the Bérenger character ; ecstatic revelations of beauty within a pessimistic framework Amédée, The Chairs, the Bérenger character ; and the inevitability of death Exit the King.

He returned to Romania with his father in after his parents divorced. There he attended Saint Sava National College, after which he studied French Literature at the University of Bucharest from to and qualified as a teacher of French.

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While there he met Emil Cioran and Mircea Eliade, and the three became lifelong friends. In Ionesco married Rodica Burileanu. Together they had one daughter for whom he wrote a number of unconventional children's stories.

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He and his family returned to France in for him to complete his Doctoral Thesis. Caught by the outbreak of World War II inhe remained there, living in Marseille during the war before moving with his family to Paris after its liberation in Eugène Ionesco died at age 84 on March 28, and is buried in complex de apărare anti-îmbătrânire mic alchimist Cimetière du Montparnasse in Paris.

Writing in Romania Though best known as a playwright, plays were not his first chosen medium.

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He started writing poetry and criticism, publishing in several Romanian journals. Two early writings of note are Nu, a book criticizing many other writers including prominent Romanian poets, and Hugoliade, or, The grotesque and tragic life of Victor Hugo a satirical biography mocking Victor Hugo's status as a great figure in French literature.

The Hugoliade includes exaggerated retellings of the most scandalous episodes in Hugo's life and contains prototypes for many of Ionesco's later themes: the ridiculous authoritarian character, the false worship of language The origins of his first play Like Samuel Beckett, Ionesco came to the theatre late: he did not write his first play until La Cantatrice chauve, first performed in with the English title The Bald Soprano.

At the age of 40 he decided to learn English using the Assimil method, conscientiously copying whole sentences in order to memorize them.

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Re-reading them, he began to feel that he was not learning English, rather he was discovering some astonishing truths such as the fact that there are seven days in a week, that the ceiling is up and the floor is down; things which he already knew, but which suddenly struck him as being as stupefying as they were indisputably true.

This feeling only intensified with the introduction in later lessons of the characters known as "Mr. To his astonishment, Mrs. Smith informed her husband that they had several children, that they lived in the vicinity of London, that their name was Smith, that Mr. Smith was a clerk, that they had a servant, Mary, who was English like themselves.

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What was remarkable about Mrs. Smith, he thought, was her eminently methodical procedure in her quest for truth. For Ionesco, the clichés and truisms of the conversation primer disintegrated into wild caricature and parody with language itself disintegrating into disjointed fragments of words. Ionesco set about translating this experience into a play, La Cantatrice Chauve, which was performed for the first time in under the direction of Nicolas Bataille.

It was far from a success and went unnoticed until a few established writers and critics, among them Jean Anouilh and Raymond Queneau, championed the play.

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Early plays Ionesco's earliest works, and his most innovative, were one-act nonsense plays: La Cantatrice chauveLa Leçon translated as The LessonLes Chaises translated as The Chairsand Jacques ou la soumission translated as Jack, or The Submission These absurdist sketches, to which he gave such descriptions as "anti-play" anti-pièce in French express modern feelings of alienation and the impossibility and futility of communication with surreal comic force, parodying the conformism of the bourgeoisie and conventional theatrical forms.

He disregards psychology and coherent dialogue, thereby depicting a dehumanized world with mechanical, puppet-like characters who speak in non-sequiturs. Language becomes rarefied, with words and material objects gaining a life of their own, increasingly overwhelming the characters and creating a sense of menace.

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The full-length plays With Tueur sans gages translated as The Killer ; his second full-length play, the first being Amédée, ou Comment s'en débarrasser inIonesco began to explore more sustained dramatic situations featuring more humanized characters.

Notably this includes Bérenger, a central character in a number of Ionesco's plays, the last of which is Le Piéton de l'air translated as A Stroll in the Air. Bérenger is a semi-autobiographical figure expressing Ionesco's wonderment and anguish at the strangeness of reality. He is comically naïve, engaging the audience's sympathy. In The Killer he encounters death in the figure of a serial killer.

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In Rhinocéros he watches his friends turning into rhinoceroses one by one until he alone stands unchanged against this tide of conformism. It is in this play that Ionesco most forcefully expresses his horror of ideological conformism, inspired by the rise of the fascist Iron Guard in Romania in the s.

Le Roi se meurt translated as Exit the King shows him as King Bérenger 1st, an everyman figure who struggles to come to terms with his own death.

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Later works Ionesco's later work has generally received less attention. This includes La Soif et la faim translated as Hunger and ThirstJeux de massacreMacbetta free adaptation of Shakespeare's Macbeth and Ce formidable bordel Apart from the libretto for the opera Maximilien Kolbe music by Dominique Probst which has been performed in five countries, filmed for television and recorded for release on CD, Ionesco did not write for the stage after Voyage chez les morts in However, La Cantatrice chauve is still playing at the Théâtre de la Huchette today, having moved there in Theoretical writings Like Shaw and Brecht, Ionesco also contributed to the theatre with his theoretical writings Wellwarth, Ionesco wrote mainly in attempts to correct critics who he felt misunderstood his work and therefore wrongly influenced his audience.

In doing so, Ionesco articulated ways in which he thought contemporary theatre should be reformed Wellwarth, Notes and Counter Notes is a collection of Ionesco's writings, including musings on why he chose to write for the theatre and direct responses to his contemporary critics.

In the first section, titled "Experience of the Theatre", Ionesco claimed to have hated going to the theatre as a child because it gave him "no pleasure or feeling of participation" Ionesco, He wrote that the problem with realistic theatre is that it is less interesting than theatre that invokes an "imaginative truth", which he found to be much more interesting and freeing than the "narrow" truth presented by strict realism Ionesco, He claimed that "drama that relies on simple effects is not necessarily drama simplified" Ionesco, Notes and Counter Notes also reprints a heated war of words between Ionesco and Kenneth Tynan based on Ionesco's above stated beliefs and Ionesco's hatred for Brecht and Brechtian theatre.

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Literary context Ionesco is often considered a writer of the Theatre of the Absurd. This is a label originally given to him by Martin Esslin in his book of the same name, placing Ionesco alongside such contemporary writers as Samuel Beckett, Jean Genet, and Arthur Adamov. Esslin called them "absurd" based on Albert Camus' concept of the absurd, claiming that Beckett and Ionesco better captured the meaninglessness of existence in their plays than in work by Camus or Sartre.

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Because of this loose association, Ionesco is often mislabeled an existentialist. Ionesco claimed in Notes and Counter Notes that he was not an existentialist and often criticized existentialist figurehead Jean-Paul Sartre. Although Ionesco knew Beckett and honored his work, the French group of playwrights was far from an organized movement.

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He was also a great admirer of the Dadaists and Surrealists, especially his fellow countryman Tristan Tzara. Ionesco complex de apărare anti-îmbătrânire mic alchimist friends with the founder of Surrealism, André Breton, whom he revered. In Present Past, Past Present, Ionesco wrote, "Breton taught us to destroy the walls of the real that separate us from reality, to participate in being so as to live as if it were the first day of creation, a day that would every day be the first day of new creations.

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