Le spectacle de l’entropie et de la néguentropie dans le théâtre ionescien

Abstract

There is nothing surprising that the first performances of what was to be the theatrical revolution
have been coolly received by the critics of the fifties. The New Play writers such as Eugène Ionesco, refuse the
order imposed by the literary dogma, by the logical thought, or the laws of politeness. Sometimes innocently
some other time cruelly, these authors seem to find a funny trouble in exhibiting the disorder in the fifties living,
social, or in the whole universe. Inhabitant of the astonishing complexity of the XX-th century where, as Edgar
Morin says, entropy / negentropy, disorganization / organization, degeneration / regeneration, life / death
mingle, fit together, make war,Ionesco gives us vivid images of this show. We can not easily classify his dramatic
work, being a contemporary complex phenomenon. However his proliferation of objects and words, bordering
a kind of ridiculous baroque, crosses the nothing Beckett's absurd. Both of them show the existential absurd
on the fifties stages, question or deny the theater itself (anti-theater).