La déconstruction théâtrale chez Ionesco

Authors

  • Alexandrina MUSTĂȚEA Université de Pitești, Pitești. alexandrinamustatea@gmail.com

Keywords:

theatrical conventions, theatre of the absurd, deconstruction, reader, spectator.

Abstract

Theatrical Deconstruction in Ionesco’s Works. Eugène Ionesco makes his appearance in the second half of the 20th century’s dramaturgy with a series of infractions that upset the idea of literature and theatre. Whilst working on the stereotypes of those two domains, he violates theatrical conventions in his first plays, making impossible any kind of contract with the reader/spectator and upsetting their expectations. Therefore, first he shocks his audience and then he conquers it, when the reader/spectator’s perplexity is superseded by the lesson of the absurd. Ionesco and his fellow playwrights – Samuel Beckett, Arthur Adamov, Jean Genet – give deep meanings to the absurd (or in other terms, the lack of sense) and give a literary aspect to the philosophical concept in order to convert it into a theatrical movement. I will study three plays in particular – The Bald Soprano, The Lesson and The Chairs – given the fact that they embody the type of deconstruction made by Ionesco in his art’s construction. My analysis is based on literary pragmatics.

Author Biography

Alexandrina MUSTĂȚEA, Université de Pitești, Pitești. alexandrinamustatea@gmail.com

Alexandrina Mustățea is Professor at the University of Pitești. She has directed the Literature Department of the University of Pitești and the Centre de Recherches sur L’imaginaire. Texte, Discours, Communication. Imagines. Her main teaching and research topics are French literature (18th and 19th centuries), poetics, textual stylistics, argumentative rhetoric, literary pragmatics. She participated to many international conferences and wrote several articles and books, among which: Tradition et innovation dans la poésie française. Interprétations parallèles; Elemente pentru o poetică integrată; De la transtextualité à la pragmatique littéraire. Études sur le XVIIIe siècle; Introducere în pragmatica textului literar; La Dissertation. Approche pragmatique.

References

Ducrot, Oswald. Dire et ne pas dire. Paris : Hermann, 1972.

Eco, Umberto. Lector in fabula. Bucarest : Univers, 1992.

Genette, Gérard. Palimpsestes. La littérature au second degré. Paris : Seuil, 1982.

Grice, Herbert Paul. « Logique et conversation », Communications, no 30 (1979) : 57-72.

Ionesco, Eugène, La Cantatrice chauve suivie de La leçon. Paris : Gallimard, Collection Folio, 1972.

Ionesco, Eugène. Théâtre, tome II. Paris : Gallimard, 1958.

Moffet, Jean-Denis, Je pense donc j’écris. Saint-Laurent : ERPI, 1993.

Mustățea, Alexandrina, « La Communication vide dans le théâtre de Ionesco », Recherches ACLIF, Jeux et enjeux de la communication (im)possible, Actes du XVIe Séminaire de Didactique Universitaire, Constanța, 2009 (ISSN 1842-7278, www.editura echinox.ro).

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Published

2020-10-30

How to Cite

MUSTĂȚEA, A. (2020). La déconstruction théâtrale chez Ionesco. Studia Universitatis Babeș-Bolyai Dramatica, 65(2), 367–380. Retrieved from https://studia.reviste.ubbcluj.ro/index.php/subbdramatica/article/view/4366

Issue

Section

Interviews and Case Studies

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