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Teatru (2 from 2) Eugène Ionesco

Teatru (2 from 2)

Eugène Ionesco

Published
ISBN :
Hardcover
1965 pages
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 About the Book 

Ucigaș fără simbrieRinoceriiDelir în doi, în trei...în cîți vreiRegele MoareSetea și foameaLacunaWith Tueur sans gages translated as The Killer (1959- his second full-length play, the first being Amédée, ou Comment sen débarrasser in 1954), IonescoMoreUcigaș fără simbrieRinoceriiDelir în doi, în trei...în cîți vreiRegele MoareSetea și foameaLacunaWith Tueur sans gages translated as The Killer (1959- his second full-length play, the first being Amédée, ou Comment sen débarrasser in 1954), Ionesco began to explore more sustained dramatic situations featuring more humanized characters. Notably this includes Bérenger, a central character in a number of Ionescos plays, the last of which is Le Piéton de lair translated as A Stroll in the Air.Bérenger is a semi-autobiographical figure expressing Ionescos wonderment and anguish at the strangeness of reality. He is comically naïve, engaging the audiences sympathy. In The Killer he encounters death in the figure of a serial killer. In Rhinocéros he watches his friends turning into rhinoceroses one by one until he alone stands unchanged against this mass movement. 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 1930s. Le Roi se meurt translated as Exit the King (1962) shows him as King Bérenger 1st, an everyman figure who struggles to come to terms with his own death.