The Rhinoceros and The Regime Posthuman Bodies on Stage and Screen
DOI:
https://doi.org/10.24193/subbdrama.2023.1.04Keywords:
posthumanism, performative body, postdramatic theatre, Eugène Ionesco, Rhinoceros.Abstract
Ever since its first representation on stage, Ionesco's play Rhinoceros became a mirror to the anxieties haunting the societies that it was held up to. Back in the 1960s, it would symbolize (Neo-)Fascism and Far-Right dangers in the Western countries, while subversively pointing at Communism and Far-Left ideologies in the Central-East European cultures. The text's versatility was highly praised by the literary and theatrical criticism, and allowed for its re-enactment in shows and films produced over the globe, in the most diverse social-political contexts. This study aims to revisit some of the first play stagings from the current perspective of post-theatre, pointing out how the early post-War productions are contributing to rewriting of the performative code in the language of posthumanism and post-drama.References
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Journals Cited:
“The Boston Sunday Globe”, February 19, 1961.
“La Croix”, February, 1960
“Croix de Toulouse”, February 21, 1965
“L’Express”, January, 1960
“Figaro Littéraire”, January 30, 1960
“Le Monde”, January 25, 1960; April 27, 1965
“The New York Times”, January 10, 1961; January 22, 1961
“The New York World Telegram, January 10, 1961
“The New York Journal-American”, January 15, 1961
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