Le langage dramatique chez Eugène Ionesco : entre classicisme et modernité

Abstract

Shortly after the Second World War, in Paris the dramatic authors seem to revolutionize the European
theatre: three of them are foreigners writing in French: Samuel Beckett is Irish, Eugene Ionesco Romanian and
Arthur Adamov Russian-Armenian. These authors create, in the Fifties, a “new theatre” characterized by what
became the common language of the contemporary theatre: different in its structure, in its design of the
characters, the relation of the spectator to the spectacle, the dramatic and scenic language, whose main features are fragmentation, ellipse of the dialogue, final abandonment of a “literary” writing. Being related to a torn and unstable subjectivity, space and time are not only any longer complex, but discontinuous and merge in
immobility of the moment. Reality and imaginary interpenetrates, overlap constantly, phenomenon which gives
rise to the feeling of derision and nonsense of the world. Each one is locked up in its own world, incompetent to
relate or to found the minimum sense of dialogue with others, which creates the feeling of distresses covering the one of loneliness.